LIBRARY 

UNIVERSITY  OF 
V.       CALIFORNIA 


MRS.   LEFFINGWELL'S  BOOTS 

A  Farcical  Comedy  in  Three  Acts 


BY 

AUGUSTUS  THOMAS 

Revised  1916  by  AUGUSTUS  THOMAS 

Copyright,  1916,  by  AUGUSTUS  THOMAS 

ALL  RIGHTS  RESERVED. 

CAUTION. — All  persons  are  hereby  warned  that  "Mss. 
LEFFINGWELL'S  Boors,"  being  fully  protected  under  the 
copyright  laws  of  the  United  States,  is  subject  to 
royalty,  and  anyone  presenting  the  play  without  the 
consent  of  the  owners  or  their  authorized  agents  will 
be  liable  to  the  penalties  by  law  provided.  Application 
for  amateur  acting  rights  must  be  made  to  SAMUEL 
FRENCH,  28-30  West  38th  Street,  New  York.  Applica 
tion  for  the  professional  acting  rights  must  be  made  to 
the  AMERICAN  PLAY  COMPANY,  33  West  42nd  Street, 
New  York. 


NEWJORK 

SAMUEL  FRENCH 

PUBLISHER 

28-30  WEST  38TH  STREET 


LONDON 

SAMUEL  FRENCH,  Ltd. 

26  SOUTHAMPTON  STREET 

STRAND 


Especial  notice  should  be  taken  that  the  possession  of  this 
book  without  a  valid  contract  for  production  first  having 
been  obtained  from  the  publisher,  confers  no  Sght  or  license 
to  professionals  or  amateurs  to  produce  the  play  publicly  or 
in  private  for  gain  or  charity. 

In  its  present  form  this  play  is  dedicated  to  the  reading 
public  only,  and  no  performance  of  it  may  be  given  except 
by  special  arrangement  with  Samuel  French,  28-30  West  38th 
Street,  New  York. 

SECTION  28— That  any  person  who  wilfully  or  for  profit 
shall  infringe  any  copyright  secured  by  this  act,  or  who  shall 
knowingly  and  wilfully  aid  or  abet  such  infringement  shall 
be  deemed  guilty  of  a  misdemeanor,  and  upon  conviction 
thereof  shall  be  punished  by  imprisonment  for  not  exceeding 
one  year,  or  by  a  fine  of  not  less  than  one  hundred  nor  more 
than  one  thousand  dollars,  or  both;  in  the  discretion  of  the 
court. 

Act  of  March  4,  1909, 


PREFACE. 

This  preface  is  the  third  of  a  projected  series 
of  six,  so  planned  that  each  should  set  forth  such 
difficulties  as  their  respective  plays  had  presented 
in  the  making,  and  the  manner  in  which  these 
difficulties  had  been  surmounted  or  accommodated. 

The  one  immediately  preceding  this,  in  the  order 
of  its  writing,  was  for  the  play,  "  In  Mizzoura." 
When  the  typed  copy  came  back  from  the  typists 
I  showed  it  to  my  secretary  at  the  Empire  Theatre, 
not  in  the  spirit  in  which  Moliere  is  reported  to  have 
read  to  his  cook — for  my  secretary  is  a  Yale  man 
and  treads  with  fear  in  literary  paths  where  I  rush 
in — but  with  an  humble  and  dissembled  yearning  for 
his  approval.  I  asked  him  if  he  didn't  think  my 
confessions  of  hurdles  and  slow  going  might  en 
courage  younger  writers  shinning  similar  obstacles. 
He  answered,  that  on  the  contrary,  the  preface 
seemed  discouraging,  as  it  laid  such  stress  upon  the 
experiences  from  which  it  had  been  drawn,  and 
thereby  implied  that  to  write  plays  at  all,  a  writer 
must  first  have  lived  considerably. 

That  opinion  made  me  doubly  thoughtful  as  I 
approached  this  play  until  a  second  review  of  the 
material  reminded  me  of  the  trivial  character  of  the 
experiences  and  satisfied  me  that  every  person  must 
have  souvenirs  quite  as  important. 

"  Mrs.  Leffingwell's  Boots  "  was  salvage ;  that  is 
to  say,  it  was  the  marketing  of  odds  and  ends  and 
remnants,  utterly  useless  for  any  other  purpose. 
Let  me  briefly  sketch  a  few  of  them: 

With  the  royalties  of  "  Alabama  "  I  had  built  a 
house  and  was  trying  to  make  a  home  in  New 
Rochelle.  It  was  on  a  hill  on  four  acres  of  cow 


no 

mis 

\c\li 


507 


4  PREFACE. 

pasture,  treeless  except  for  one  gnarly  apple ;  but  it 
commanded  a  fair  view  of  the  sound  a  mile  distant, 
and  Long  Island  nine  miles  across  the  water. 
Twenty-six  years  have  enriched  the  grounds  with 
many  noble  trees  and  shrubs  and  covered  the  build 
ing's  first  story,  which  is  of  stone,  so  densely  with 
vines  that  it  might  just  as  well  have  been  of  shingles 
and  saved  that  mortgage. 

Deaf  to  the  expostulations  of  a  local  carpenter,  I 
had  a  hole  eighteen  inches  square  cut  in  the  dining 
room  table,  and  had  this  aperture  fitted  with  a  cop 
per  pan  that  caught  the  drip  from  a  tiny  fountain 
that  played  over  stones  and  ferns  when  we  had 
visitors,  or  felt  recurrently  sentimental  ourselves. 
It  was  a  perfect  little  fountain  regulated  under  the 
table  by  a  key  which  no  man  ought  to  expect  a 
woman  to  reach,  and  it  worked  satisfactorily  nine 
times  out  of  ten,  or  until  a  bit  of  dirt,  or  some 
aquatic  insect  got  into  its  pin-hole  nozzle.  Then  it 
spurted  eccentrically  and  was  a  regular  fool  thing. 

One  night  Francis  Wilson  had  the  attention  of  the 
company  and  was  telling  a  good  story,  when  the 
fountain  took  one  of  these  fits.  The  stream  struck 
fair  and  square  on  the  stiff  bosom  of  his  dress  shirt 
and  made  a  noise  like  rain  on  a  roof.  Company 
table  cloths  are  long,  and  before  I  could  get  under 
and  find  the  key,  a  good  deal  of  water  went  Mr. 
Wilson's  way,  but  it  didn't  interrupt  his  story.  He 
turned  up  his  lapels  like  a  sailor  man  on  the  bridge, 
and  held  his  place. 

We  abandoned  the  fountain  soon  after  that,  but 
the  Francis  Wilson  episode  always  impressed  per 
sons  humorously  when  we  told  it,  to  explain  the 
patch  on  the  table  where  the  copper  pan  had  been — 
and  one  gentle  visitor  said,  "  Mr.  Thomas,  you 
ought  to  put  that  in  a  play  ". 

There  used  to  be  a  market  just  east  of  the  old 
Grand  Central  station,  where  on  a  day's  notice  one 
could  get  freshly  cooked  terrapin  in  glass  jars ;  and 


PREFACE.  5 

a  commuter,  with  a  silk  thread  on  his  little  finger, 
could  remember  to  bring  out  three  jars.  Now  grape 
fruit,  and  consomme  en  tasse,  and  terrapin,  and  a 
rack  of  lamb,  and  jumbo  squabs,  with  a  sliver  of 
Virginia  ham,  and  alligator  pears,  and  ice  cream 
molded  zoologically,  plus  Turkish  coffee,  a  good 
cigar  and  vintage  Ruinart  make  an  acceptable 
dinner.  If  the  laundress  will  help  in  the  kitchen, 
and  the  upstairs  maid  will  assist  in  the  pantry,  with 
an  emergency  butler  from  the  social  service  bureau, 
you  can  do  nicely  for  a  party  of  twelve. 

There  was  a  blizzard.  All  our  guests,  except  one 
lady,  were  expected  from  New  York.  That  one 
lady  arrived  at  nine  P.  M.  in  the  arms  of  her  coach 
man.  The  coupe  was  in  a  drift  sillhouetted  against 
Long  Island.  The  New  York  people  reported  by 
telephone  two  days  later  when  the  lines  were  re 
paired. 

As  we  faced  the  flowers  and  salted  almonds  and 
the  remaining  two  hundred  and  seventy  degrees  of 
the  vacant  circle  the  solitary  guest  seated  at  my  right 
said  to  Mrs.  Thomas,  on  my  left — "  If  you  were 
to  put  this  on  the  stage,  nobody  would  believe  it  ". 

In  the  summer  of  1903,  Henri  Dumay,  the  French 
dramatist,  was  visiting  me  at  East  Hampton ;  and 
talking  of  dinner  parties  one  evening  I  told  him 
of  our  blizzard  dinner  ten  years  before.  It  was 
upon  his  banter  that  no  playwright  could  make  more 
than  one  act  of  it ;  and  the  encouragement  of  Mark 
Twain's  statement ;  "  A  short  story  is  a  novel  in  the 
cradle ",  that  I  began  at  once  to  write  "  Mrs. 
Leffingwell's  Boots". 

There  was  at  East  Hampton  an  empty  box  stall 
in  the  stable  with  windows  set  so  high  that  o»e 
couldn't  look  out  of  them.  I  put  in  only  a  kitchen 
chair  and  a  small  pine  table  from  the  village  general 
store — not  even  a  calendar  to  distract  attention.  My 
play  material  to  start  with  was  a  suburban  home — 
isolated  by  a  storm  on  the  evening  of  a  prepared 


6  PREFACE. 

dinner.  Persons  once  there  couldn't  easily  leave; 
and  only  the  sturdy  and  the  heroic  could  arrive. 
Question : — what  is  the  best  use  to  make  of  that  set 
of  conditions?  Answer:  the  exploitation  of  a  per 
son  or  of  persons  who  would  like  to  get  away  and 
can't  do  so.  What  person  would  be  the  most 
effective  figure  under  such  constraint?  A  girl! 

I  began  to  picture  a  storm-bound  girl  in  this 
suburban  house.  I  made  her  a  guest  for  whom  the 
ill-fated  dinner  party  was  arranged.  I  gave  her 
youth,  and  beauty,  and  all  the  simple  charms  I  could 
imagine ;  and  with  her  thus  endowed  I  made  myself 
see  her  still  fretting  to  get  away ;  and  I  asked  my 
self  and  the  walls  of  the  box  stall  why?  My  first 
problem  was  to  devise  a  reason  for  her  uneasiness. 

I  press  this  banality  with  some  insistence  upon 
your  attention  because  it  illustrates  one  way  in  which 
a  story  is  made  to  begin  itself:  Just  one  positively 
chosen  effect  or  result  inflexibly  adhered  to,  and 
turned  in  every  direction  in  search  of  its  most 
probable  and  most  prolific  cause.  And  this  cause 
when  found,  written  down  in  its  proper  relation  and 
singly  or  in  combination  regarded  in  its  turn  as  an 
effect  for  which  a  remoter  cause  must  be  discovered. 

In  this  instance  the  best  reason  for  my  storm 
bound  girl's  uneasiness  seemed  to  be  her  wish  to 
avoid  meeting  a  particular  man.  Her  very  opposi 
tion  made  the  man  important;  and  I  began  to  in 
quire  why — opposition  ?  Who  is  he  that  she  doesn't 
want  to  meet  him  ?  What  is  he — especially  to  her  ? 
It  was  easy  to  say  a  bad  man ;  and  easier  still,  if  a 
very  bad  man,  to  hand  him  over  to  the  police,  but 
that  looked  like  drama,  and  not  comedy — so  I  "  about 
faced  "  and  thought  of  him  as  a  good  man,  all  right, 
fine,  and  in  every  way  admirable — so  admirable,  that 
she  had  once  loved  him ;  yes  still  loved  him,  but 
yet  wished  to  escape  him. 

And  so  on,  step  by  step;  the  best  stone  in  the 
stream  chosen  for  each  next  foothold  until  I  had 


PREFACE.  7 

Corbin  my  young  architect,  whose  engagement  to 
her,  Mabel  had  broken,  because  of  his  notorious 
relations  with  another  man's  wife,  and  still  had  him 
really  innocent  and  eligible.  The  only  evidences 
against  him  were  a  detective — to  be  ultimately  dis 
credited;  a  jealous  and  outraged  husband — to  be 
later  mollified ;  and  a  pair  of  lady's  boots  on  his 
fire  escape — to  be  later  accounted  for  and  explained 
away.  With  this  broken  engagement  and  this 
notoriety,  Corbin  would  of  course  not  be  one  of  the 
expected  guests ;  so,  I  had  the  storm  drive  him  into 
the  house ;  not  for  shelter  but  to  telephone ;  and  then 
the  match  making  hostess  detained  him. 

The  next  most  interesting  person  in  that  vague 
complication,  and  the  most  undesirable  in  that  house, 
would  be  the  married  woman,  about  whom  there  had 
been  the  trouble ;  the  owner  of  the  boots  and  of  the 
jealous  husband.  I  called  her  Mrs.  Leffingwell. 
There  is  an  avenue  of  that  name  in  St.  Louis,  near 
the  hill  where  I  used  to  report  railroad  strikes,  and 
the  name  always  seemed  gay  and  frivolous  to  me. 
I  made  Mrs.  Leffingwell  the  only  invited  guest  who 
arrived;  and  in  my  own  New  Rochelle  experience 
I  had  the  "  business  "  of  her  arrival  all  ready  for 
transcription. 

With  the  young  man  Corbin  in  the  house  from 
which  there  was  no  escape;  and  also  with  him,  his 
estranged  sweetheart,  and  the  married  woman  of 
whom  she  was  jealous,  I  had  the  nucleus  of  a  farcical 
comedy.  In  constructing  such  plays  the  French  have 
the  three  act  formula  expressed  by  one  of  their 
modern  writers: 

Act  one;  get  your  man  up  a  tree: 

Act  two ;  throw  stones  at  him : 

Act  three;  get  him  down. 

I  had  my  man  up  a  tree.  My  work  was  to  find 
stones  to  throw  at  him.  Obviously  one  missile  would 
be  the  girl's  suspicion,  and  her  anger  when  she  dis 
covered  that  the  solitary  lady  guest  was  the  woman 


8  PREFACE. 

of  the  scandal.  To  have  any  discovery  at  all  re 
quired  a  preceding  mystery ;  that  is  to  say,  the 
woman  of  the  scandal  must  be  anonymous  and  she 
and  Corbin  must  affect  to  be  strangers  when  they 
first  meet  in  the  play.  Corbin's  reason  for  that 
concealment  could  be  the  presence  of  the  jealous 
sweetheart ,  the  woman's  reason  could  be  her  promise 
to  a  jealous  husband  to  avoid  the  man.  A  second 
stone  to  throw  at  the  man  in  the  tree  was  thus 
obviously  the  jealous  husband  himself  ;  and  the  play 
wright's  problem  at  this  stage  of  the  story's  con 
struction  was  to  devise  situations  involving  Corbin 
and  the  woman,  which  would  look  suspicious  to  the 
sweetheart  and  to  the  husband ;  as  for  example,  to 
put  Corbin  on  the  stage  in  his  pajamas  and  in 
hazardous  nearness  to  Mrs.  Leffingwell  also  in  un 
conventional  attire ;  and  to  do  this  decently  and  with 
out  incidents  shocking  to  gentle  patrons.  The  lounge 
bed  improvised  in  the  living  room  was  one  bit  of 
machinery  to  such  an  end.  The  sweetheart's  and  the 
woman's  rooms  nearby  were  another.  The  telephone 
calls  at  midnight  were  a  third  and  served  the  double 
purpose  of  calling  in  the  ladies  and  of  bringing  the 
jealous  husband  into  that  part  of  the  story. 

At  this  stage  of  the  progress  there  arose  one  of 
those  pine  knot  difficulties  in  the  logic  of  story  build 
ing  that  invariably  or  almost  invariably  are  to  be  met 
and  resolved.  As  another  stone  to  throw  at  my 
treed  hero  I  wanted  the  presence  of  his  real  accuser, 
the  crooked  detective  who  had  manufactured  evi 
dence  against  Mrs.  Leffingwell  and  against  Corbin ; 
or  at  least  I  thought  I  wanted  him,  and  I  began 
mentally  to  investigate  him.  Up  to  this  point  he  had 
been  a  vague  factor  merely  predicated  in  the  con 
struction.  His  charge  was  hearsay.  His  confuta 
tion,  as  arranged,  was  merely  the  innocent  hero's 
denial.  He  was  unquestionably  a  weak  link  in  the 
chain  of  circumstances.  He  must  be  flesh  and  blood. 
His  motive  must  answer  logical  inquiry.  Merely  a 


PREFACE.  9 

venal  officer  inventing  a  false  accusation  against  two 
entirely  innocent  persons  was  too  contrived.  To 
have  him  manufacture  evidence  at  the  husband's 
command  would  destroy  the  husband  as  a  genuine 
factor.  Problem:  find  a  better  motive  for  the  de 
tective  than  money.  Then  slowly  the  mental  search 
touches  these  high  lights,  not  in  such  close  succession 
as  I  give  them  here,  but  after  elimination  in  this 
selected  order:  Hatred?  An  old  enmity?  Hatred 
between  equals  ?  Social  equals  ?  An  insane  hatred  ? 
A  demented  detective? — Pause! 

Why  not  give  that  idea  some  hospitality?  To 
plant  a  good  lady's  boots  where  they  would  com 
promise  a  man  is  a  bit  freakish  at  best  and  might 
be  the  act  of  an  eccentric.  But  if  the  planter  is  of 
unsound  mind  why  does  not  some  person  know  it — 
and  knowing  it  why  not  say  so  and  prevent  the  play  ? 
How  could  Corbin  know  it  and  be  silent?  Why 
suffer  from  the  man's  eccentricity  and  be  still?  Is 
he  some  relative  of  Corbin's  whom  Corbin  would 
wish  to  shield  ?  What  of  that  ?  Let  him  be  even  a 
brother  and  Corbin  should  expose  him  to  Mabel. 
Why  permit  the  sweetheart  to  suffer  by  Corbin 
sparing  a  member  of  his  family?  Even  her  own 
brother — Now  wait  a  minute 

Mabel's  brother?  That  sounds  pretty  good. 
There's  pull  in  that  idea  and  there's  a  "  come  back  " 
and  a  kick.  So  there  again  is  an  example  of  one  of 
those  solvents  that  the  dramatist  so  often  finds  about 
two-thirds  of  the  way  through  his  story  in  process : 
A  girl's  brother  not  of  sound  mind  and  with  a  real 
or  fancied  grievance  against  her  lover  doing  things 
to  annoy,  embarrass,  compromise  and  even  incrim 
inate  the  lover,  and  the  lover  being  silent — out  of 
consideration  for  the  girl,  as  Romeo  refused  to  fight 
a  kinsman  of  Juliet. 

I  was  immensely  satisfied  with  the  find ;  and  quit 
work  for  that  day  on  which  I  had  made  it.  A  vital 
factor,  a  new  cog  changing  completely  the  gear  of 


io  PREFACE. 

your  dramatic  machinery  needs  a  night  of  sub-con 
scious  assimilation  at  least. 

The  next  morning  the  boomerang  element  in  the 
new  feature  was  operating — my  girl  wasn't  happy 
with  a  strain  of  mental  unsoundness  in  the  family, 
and  I  couldn't  blame  her.  The  sentimental  part  of 
my  confection  was  getting  very  unlovely — but  as 
mere  machinery  I  hated  to  dismiss  the  idea ;  and 
then  I  remembered  Doctor  Still,  the  founder  of 
osteopathy,  and  an  incident  in  his  practice — a  man 
insane  not  congenially,  but  from  an  injury;  and  a 
cure  effected  by  a  readjusted  vertebra. 

Useful!  That  necessitated  a  practitioner  of 
osteopathy  in  the  play  and  enough  exposition  of  the 
tenets  of  the  school  to  make  the  use  of  them  real. 
Doctor  Rumsey,  his  deafness  and  his  skill  came  into 
the  plot  that  way.  Some  wise  critics  attributed  it 
all  to  "  Thomas'  susceptibility  to  fads  ",  not  knowing 
that  like  Romeo's  apothecary,  "  My  poverty  and  not 
my  will  consented." 

I  began  to  consider  the  doctor's  exposition  of  this 
brother's  case.  I  saw  the  unconvincing  quality  of 
mere  talk  about  it.  "  Don't  tell  it — Do  it."  That  is 
the  sturdy  motto  of  the  theatre.  I  needed  a  figure  for 
my  demonstration — a  lay  figure.  The  mind  jumped 
to  a  manikin.  When  I  had  the  art  department  on  the 
old  St.  Louis  Republican  I  used  to  infest  the  studios 
of  the  local  artists.  More  than  once  I  had  been 
comically  startled  by  walking  into  a  manikin  stand 
ing  back  of  a  door  or  discovered  elsewhere  un 
awares  ;  and  the  idea  of  a  manikin  lip  up  a  whole 
field  of  associated  subjects.  It  gave  me  a  studio  to 
play  with  instead  of  a  living  room.  It  gave  me  a 
gallery,  with  doors  to  bed  rooms  above,  and  door 
ways  to  hall  and  dining  room  below.  It  gave  me 
a  stairway  and  landing;  all  so  dear  to  the  weaver 
of  farce  fabric;  and  better  yet  it  gave  me  this  life 
like  figure,  potent  not  only  for  demonstrations,  but 
for  substitutions  and  mistakes.  I  think  now,  that  if 


PREFACE.  ii 

the  manikin  had  not  walked  into  my  mind  M.  Dumay 
might  have  won  his  wager  and  "  The  Boots  "  have 
been  only  a  one  act  play. 

A  dramatist  writing  helpfully  to  beginners  in  his 
craft  cannot  point  too  often  to  the  value  of  the 
delayed  ingredient  of  this  kind.  Like  a  bit  of 
soluble  and  vivid  colored  pigment  floated  on  an  al 
ready  compounded  fluid,  it  not  only  adds  its  own 
individual  local  color  spot,  but  particles  drift  from  it 
and  affect  the  motlev  of  whole  compound. 

As  vou  read  the  play  you  will  see  how  completely 
the  idea  of  an  artist  and  his  studio  changed  the 
chemistry  of  the  story ;  how  utterly  different  it  would 
all  have  had  to  be  without  the  manikin,  and  the 
studio,  and  the  double  deck,  and  with  only  the 
arrangement  of  the  usual  suburban  house. 

From  ^this  point  onward  the  making  of  the  play 
was  as  simple  as  re-assembling  a  picture  puzzle  and 
when  once  together  and  the  picture  was  complete, 
it  remained  only  to  tell  about  it  which  is  the  easiest 
part  of  the  business. 

Augustus  Thomas. 


MRS.  LEFFINGWELL'S  BOOTS. 

PERSONS  OF  THE  PLAY. 
IN  THE  ORDER  OF  THEIR  APPEARANCE. 

Cast  of  characters  in  Mr.  Charles  Froman's  pro 
duction,  New  York. 

MRS.  THOMAS  BONNER Dorothy  Hammond 

MRS.  RUMSEY Annie  Adams 

DOCTOR  HENRY  RUMSEY John  G.  Saville 

NORA.  .A  maid Jessie  Busley 

ORTON.  .A  butler Ernest  Lawford 

Miss  MABEL  AINSLIE Fay  Davis 

MR.  WALTER  CORBIN Wm.  Court enay 

MR.  HOWARD  LEFFINGWELL Louis  Payne 

MR.  RICHARD  AINSLIE Vincent  Serrano 

MRS.  LEFFINGWELL Margaret  Illington 

TIM .  .A  coachman Geo.  Farnesgaines 

MR.  THOMAS  BONNER.  .Artist Jack  Barnes 

A  DRIVER Jay  Wilson 

SERGEANT  OF  POLICE Del  de  Lewis 

13 


MRS.  LEFFINGWELL'S  BOOTS 


ACT  I. 

SCENE  :— The  dining  room  of  "  INGLENOOK."  Big 
arch  at  right  letting  to  big  studio — similar  arch 
left  to  enclosed  porch  used  as  conservatory  and 
filled  with  plants  on  rising  benches.  Exterior 
do/)r  from  porch  up  stage.  Doors  in  back  flat 
up  left  to  pantry;  up  R.  to  hall.  Big  window 
with  seat  i  L.  Big  Normandie  buffet  between 
doors,  at  back.  Fireplace  and  mantel  in  L.  upper 
corner  obliqued — mantel  is  surmounted  by  cattle 
painting,  built  in.  All  doors  surmounted  by 
shelves,  fitted  with  brass  and  china  plaques. 
Wall  spaces  artistically  hung  with  plates.  Color 
scheme  is  blue  and  white.  Buffet  richly 
equipped  with  glass  and  liquors.  A  round  table 
with  covers  for  ten  is  in  the  center.  Chairs  of 
mahogany  are  in  their  places.  Flowers  and 
candles  are  on  table. 

A  little  fountain  plays  at  center  of  table. 

Fire  in  fireplace. 

Drifting  snow  at  window  and  porch. 

DISCOVERED :— MRS.  BONNER,  and  her  mother, 
and  father,  DR.  and  MRS.  RUMSEY.  (MRS. 
BONNER  is  in  party  dress.  DOCTOR  and  wife  in 
ordinary  attire.  All  are  standing.) 

MRS.  BONNER.  (With  dinner  cards;  and  per- 
'turbed)  I  always  make  a  diagram  of  my  table  and 
then  find  it's  all  wrong. 

15 


16        MRS.  LEFFINGWELL'S  BOOTS. 

MOTHER.    What's  wrong  now? 

MRS.  BONNER.  (Indicates  places)  Why  I  had 
Mr.  Klargess  on  Mrs.  Leffingwell's  right — and  as1 
our  principal  guest  she's  on  Tom's  right.  That 
makes  her  between  them. 

MOTHER.    Well  ? 

MRS.  BONNER.  Well  if  Tom's  going  to  continue 
to  act  ugly  about  Mr.  Klarge:  -  to-night,  Mrs. 
LefrmgwelTs  sure  to  notice  it,  if  she's  between  them, 
and  it'd  be  all  over  Larchmont  to-morrow  that  Tom 
was  jealous  of  Klargess. 

MOTHER.  (At  R.  of  table)  Who's  here?  (Scans 
card)  Mr.  Reed?  Why  don't  you  change  him  and 
put  Mr.  Klargess  here? 

MRS.  BONNER.  That's  immediately  next  to  me — • 
even  more  irritating  to  Tom. 

DOCTOR.  (In  slightly  deaf  manner)  What's 
that? 

MOTHER.  (Raising  her  voice)  Nothing,  Henry 
— I'll  explain  upstairs. 

MRS.  BONNER.  Tell  me,  dear — you  understand 
perfectly  why  I  don't  have  you  both  to  dinner? 

MOTHER.  Why  certainly,  daughter — I'd  rather 
take  a  whipping  than  come  down  to  it  anyway — 
and  really  not  hearing  very  well — your  father  doesn't 
enjoy  company  at  all. 

DOCTOR.     (Feeling  referred  to)     Eh?    What — ? 

MRS.  BONNER.  And  you  wouldn't  believe  the  ex 
pense  of  it,  Daddy,  if  I  told  you. 

DOCTOR.    (With  some  experience)    Oh 

MRS.  BONNER.  No  you  wouldn't — Fillet — just 
one  fillet  larded-four  dollars.  (DOCTOR  looks  at 
wife)  Squabs — skinny  little  squabs — nothing  else 
in  the  market: — Six  dollars  a  dozen — then  nobody 
gives  a  lot  of  wines  any  more;  you  begin  with 
champagne  and  serve  champagne  all  thro'  the  dinner 
— well  you  see  don't  you?  we  can't  do  it  often — so 
when  we  do  do  it  every  plate  counts 

DOCTOR.    Why  bless  you,  my  dear,  I  know  that. 


MRS.  LEFFINGWELL'S  BOOTS.         17 

MRS.  BONNER.  (Affectionately)  So  you  under 
stand,  don't  you,  why  I  consent,  even  consent  to 
mother  and  you  eating  with  the  children  ? 

DOCTOR.     (Reassuring  her)     Perfectly. 

MRS.  BONNER.  The  butler  fills  my  glass  once, 
just  once  and  it  stands  thro'  the  evening — Tom  pre 
tends  that  champagne  makes  him  nervous,  and  he 
has  a  long  Scotch  and  soda — even  that  leaves  eight 
to  pour  for.  I  tell  you  they  make  it  serious  for  you. 

DOCTOR.  (Indicating  table)  All  these  people  buy 
pictures. 

MRS.  BONNER.  Most  of  them — we  hope.  Of 
course  Mr.  Klargess — I  invited  him  on  Mabel's 
account. 

DOCTOR.    Whose  account  ? 

MRS.  BONNER.  (To  her  mother)  I'll  explain 
to  him  and  you  can  listen.  (To  DOCTOR,  in  slightly 
lifted  voice)  This  dinner,  father 

DOCTOR.  (Admiring  table,  smiles)  Beautiful — I 
remember  a  dinner  Governor  Fletcher  gave  Jennie 
Lind 

MRS.  BONNER.  No — I'm  explaining — listen.  Do 
you  hear  me  in  this  tone  ? 

DOCTOR.  Half  the  volume,  my  dear — if  you'd 
only  pitch  it  in  a  lower  key.  It's  the  slow  vibrations 
that  carry — All  the  trans-Atlantic  steamers 

MRS.  BONNER.  (More  contralto)  I  remember. 
Well  this  tone  then? 

DOCTOR.  Exactly — if  a  woman'll  only  talk  con 
tralto  I 

MOTHER.    Pity  you  didn't  marry  a  contralto. 

MRS.  BONNER.    W^ait,  mother. 

DOCTOR.  (Apologetically,  shakes  head  and  smiles 
the  patient  smile  of  the  gentle  deaf)  Didn't  get  it. 

MRS.  BONNER.  Didn't  miss  much — I've  told 
mother  about  the  dinner  and  I  want  you  to  under 
stand:  (DOCTOR  nods  attention)  It  isn't  any  fun 
for  14 s — Tom  and  me — but  if  Tom's  going  to  sell 
pictures  he's  got  to  meet  the  people  that  buy 


i8        MRS.  LEFFINGWELL'S  BOOTS. 

pictures — I  hate  the  whole  society  idea  myslf — This 
dinner  is  just  to  pay  a  lot  of  social  debts — under 
stand  ? 

DOCTOR.    Perfectly. 

MRS.  BONNER.  (Cautiously,  and  looking  toivard 
door  R.)  Mabel's — Miss  Ainslie — her  people  think 
she's  going  into  a  decline  about  Walter  Corbin. 

MOTHER.    Really  ? 

MRS.  BONNER.  Oh,  yes — my  inviting  her  here 
this  winter  was  a  regularly  arranged  thing  between 
her  mother  and  me.  That's  why  I  asked  Mr. 
Klargess  to  this  dinner  to-night  and  if  Tom  wasn't 
an  idiot  he'd  know  it — but  every  time  I  say 
"  Klargess,"  Tom  behaves  this  way — I  don't  care 
that  (A  snap  of  her  fingers)  for  Mr.  Klargess — I 
wouldn't  send  flowers  to-morrow  if  I  read  his 
funeral  notice — but  he's  as  jolly  as  he  can  be  and 
I've  put  Mabel  next  to  him.  If  anybody  can  get 
her  mind  off  of  Corbin — he  can.  What  time  is  it, 
Daddy? 

DOCTOR.    What  ? 

MOTHER.  (Impatiently)  Time.  (Pantomimes 
drawing  watch) 

DOCTOR.  (Smilingly  obeys)  Oh — fifteen  minutes 
after  seven. 

MRS.  BONNER.  (Consternation)  What!  Tom 
ought  to  be  in  the  house,  now,  dressing. 

(Enter  NORA  from  pantry  up  L.) 

NORA.    Beg  pardon,  ma'am. 
MRS.  BONNER.    What  is  it,  Nora  ? 

NORA.    That  man  you've  hired  for  to-night 

MRS.  BONNER.    Call  him  the  butler,  Nora 

NORA.  Yes,  ma'am.  He  wants  to  know  if  there's 
cocktails. 

MRS.  BONNER.    Tell  him  I'll  speak  with  him  here. 
NORA.    Yes,  ma'am.     (Exit) 
MOTHER.    Is  he  a  regular  butler  ? 


MRS.  LEFFINGWELL'S  BOOTS.         19 

MRS.  BONNER.  (Proudly)  Oh,  yes,  from  the 
city.  He  won't  come,  if  there  isn't  a  pantry  and  he 
stipulates  he  isn't  to  go  into  the  kitchen. 

MOTHER.     (Astonished)     'Mm. 

(Enter  BUTLER,  up  L.     He  is  very  English,  and 
tolerant. ) 

BUTLER.    Yes,  ma'am? 

MRS.  BONNER.  What's  your  name — James,  I 
think  they  told  me. 

BUTLER.  Yes,  ma'am,  James ;  but  most  houses 
prefer  to  call  me  by  my  last  name,  ma'am. 

MRS.  BONNER.    Yes?    What  is  that? 

BUTLER.    Orton. 

MRS.  BONNER.    Orton— O-R-T-O-N  ? 

BUTLER.    Yes,  ma'am. 

MRS.  BONNER.    I  think  I  can  remember  that. 

BUTLER.  Same  as  Horton's  Ice  cream  only 
droppin'  the  H.  That's  a  good  way. 

MRS.  BONNER.  Thank  you.  What  was  it  you 
wished  to  know? 

BUTLER.    Are  there  cocktails  ? 

MRS.  BONNER.  (Anxiously)  What  do  you  think 
yourself  ? 

BUTLER.  (Showing  one  tooth;  but  too  languid 
to  smile  further)  Depends  on  the  guests,  ma'am. 
If  the  guests  are  pretty  free  drinkers — we  generally 
say  cocktails.  They're  a  great  saving  of  champagne. 

MRS.  BONNER.  Well — that  doesn't  matter;  but 
they  do  start  everything  good  naturedly. 

BUTLER.  Yes,  ma'am.  (Pause.  A  slight  inclina 
tion  toward  right)  Pass  them  in  the  parlor,  of 
course  ? 

MRS.  BONNER.  The  studio — yes — we  don't  have 
a  parlor  in  this  house.  (  BUTLER  nods;  he  is  about 
to  drift  out)  And  Orton 

BUTLER.    Yes,  ma'am. 


20        MRS.  LEFFINGWELL'S  BOOTS. 

MRS.  BONNER.  The  maid  showed  you  the  two 
kinds  of  champagne? 

BUTLER.    Yes,  ma'am. 

MRS.  BONNER.  After  the  second  round — pour 
the  American. 

BUTLER.  (Easily)  I  understand  ma'am — with 
the  napkin  over  the  label. 

(Enter  NORA.) 

NORA.    Is  it  time  for  the  candles,  Mrs.  Bonner? 

BUTLER.  (Unmistakably  to  MRS.  BONNER) 
When  I'm  passing  the  cocktails  I  should  think. 

MRS.  BONNER.  (Assenting)  Yes.  (Relays  mes 
sage  to  MAID)  When  Orton  passes  the  cocktails. 

NORA.    Very  well ;  and  the  fountain  ? 

MRS.  BONNER.  We'd  better  arrange  that  now. 
This  fountain  Orton  plays  thro'  the  dinner.  There's 
a  little  key  to  turn  it  on  by  under  the  table  near  the 
floor. 

ORTON.    A  key  ? 

NORA.     (Noting  his  reluctance)     I'll  do  it. 

MRS.  BONNER.    Thank  you,  Nora. 

(NoRA  goes  under  table  removing  chair  to  do  so.) 

BUTLER.  (Very  bored)  I  don't  have  to  attend  to 
that  during  the  dinner  ? 

MRS.  BONNER.  Oh,  no — it  runs  itself  after  it's 
turned  on.  (To  NORA)  A  little  higher,  Nora. 

(Exit  BUTLER.) 

NORA.    There  ? 

MRS.  BONNER.  Oh,  no — that's  too  much.  (A 
bell  rings  in  the  pantry)  There,  that's  better — 
leave  it  there. 

NORA.    Yes,  ma'am. 


MRS.  LEFFINGWELL'S  BOOTS.        21 
(Enter  BUTLER.) 

BUTLER.    You  ring,  ma'am? 

NORA.  That  was  me.  I  put  my  hand  on  the 
button,  ma'am,  (Reappears) 

MRS.  BOXXER.  Oh,  I  forgot  that  button.  (Sits 
in  her  place  as  hostess)  I  don't  think  I  can  reach 
it  with  this  big  top  on  the  table.  (Sweeps  wildly 
with  foot) 

NORA.  (Observing)  It's  further,  ma'am,  (Bell 
rings} 

MRS.  BOXXER.  But  I  can't  do  that  at  the  dinner 
— we've  a  hand  wire  somewhere. 

BUTLER.  You'll  hardly  need  a  bell,  ma'am.  The 
butler  "  comes  in  "  often  enough. 

MRS.  BONNER.    Thank  you. 

BUTLER.  Will  you  have  the  cheese  with  the  salad 
ma'am,  or  by  itself? 

MRS.  BONNER.  (Ponderously)  Oh — I  think  to 
gether. 

BUTLER.    Yes,  ma'am.     (Exit  3  L.) 

MRS.  BONNER.  I  wish  you'd  look  in  the  stable, 
Nora,  and  see  if  Mister  Bonner  is  there. 

NORA.     (With  surprise)     In  the  stable,  ma'am? 

MRS.  BONNER.  Yes — (NoRA  exit  3  L.  To 
mother)  Once  Tom  pretended  to  go  to  New  York 
but  only  hid  himself  in  the  stable  instead. 

DOCTOR.  (Referring  to  fountain)  That's  very 
pretty.  Why  don't  we  have  that  at  all  the  meals? 

MRS.  BONNER.  We  didn't  like  to  cut  the  table. 
It's  only  the  big  pine  top  (To  mother)  and  then  it 
takes  two  table  clothes  every  time  you  see — or  cut 
them. 

MOTHER.     It's  very  pretty;  and  most  unusual. 

MRS.  BONNER.  It's  pretty  when  it  goes  all  right — 
but  a  bug  or  a  piece  of  dirt  makes  it  sputter  and 
then  it's  simply  sloppy  till  Tom  can  get  under  the 
table  and  shut  it  off.  I  hope  every  thing'll  go  all 


22         MRS.  LEFFINGWELL'S  BOOTS. 

right  to-night.     (Pause)    What'd  he  say  his  name' 

was  ? — Oh,  yes,  Orton.  ' 

MOTHER.  It's  sure  to  go  all  right — the  table  is 
lovely. 

MRS.  BONNER.  It's  very  much  prettier  with  only 
the  candle  light.  I  want  Mabel  to  see  it.  (Calls 
thro'  the  arch  to  the  studio)  Mabel!  Mabel! 

MABEL.     (Off  R.)    Yes — you  call  Eva? 

MRS.  BONNER.  Can  you  come  down  and  look 
at  the  table  before  the  people  come? 

MABEL.    Are  you  alone? 

MRS.  BONNER.  Yes,  alone.  (Returns)  This  is 
the  first  party  of  any  kind  Mabel's  had  since  her 
break  with  Walter  Corbin. 

DOCTOR.    Didn't  get  that. 

MOTHER.  (By  care,  and  by  pantomime)  Her 
first  party — since  her  trouble. 

DOCTOR.  Trouble  ? — You  mean  about  her  brother 
Dick  being  so  queer.  (Taps  head) 

MOTHER.  Corbin— C-O-R-B-I-N.  (Spells  it 
in  conjugal  whisper) 

DOCTOR.  (Smiling)  Oh,  yes.  Found  a  lady's 
boots  on  his  fire  escape  didn't  they? 

MRS.  BONNER.  (Wig-wagging  MABEL'S  approach) 

DOCTOR.      (Unctuously)     Ever  hear  who  that 
woman  was? — eh? 
MOTHER.    Be  still. 

(Enter  MABEL,  R.) 

MRS.  BONNER.  I  wanted  you  to  see  the  table, 
dear. 

DOCTOR.  (Bringing  up  his  average)  Why, 
Mabel,  you  look  as  sweet  as  a  peach. 

MABEL.  Thank  you.  (To  MRS.  BONNER  over  her 
shoulder  as  she  backs  up)  I  couldn't  reach  those 
three  hooks  in  the  middle — will  you  do  them  ? 


MRS.  LEFFINGWELL'S  BOOTS.        23 

MOTHER.  Here — let  me.  (Fastens  MABEL'S 
dress) 

MRS.  BONNER.  (Self -accusingly)  I  forgot  to 
send  Nora  to  you. 

MABEL.    Doesn't  matter. 

MRS.  BONNER.  (Indicating  table)  Your  flowers, 
dear — came  in  beautifully. 

DOCTOR.  (To  wife  and  MABEL)  Anything  I  can 
do?  Used  to  be  a  great  operator. 

MOTHER.    Go  'way. 

MABEL.  And  that  beautiful  fountain.  How 
artistic ! 

MRS.  BONNER.    Tom's  idea. 

MABEL.    Has  Tom  come  back  ? 

MRS.  BONNER.    No! 

MABEL.  He  will  of  course — but  the  snow  is  some 
thing  terrible. 

MRS.  BONNER.  I  know — T  expect  everybody'll  be 
late.  The  cook  didn't  think  we  ought  to  go  ahead 
with  the  dinner. 

MABEL.    Nobody  sent  any  excuses? 

MRS.  BONNER.    Oh.  no. 

MABEL.    Then  of  course  they'll  all  come. 

DOCTOR.    Isn't  that  somebody  at  the  porch  door? 

MRS.  BONNER.  (Looking  L.)  Why  I  think  it  is. 
'(Calls)  Nora! 

DOCTOR.    I'll  let  him  in.     (Exit  L.) 

MABEL.    Strangers  don't  come  that  way,  do  they  ? 

MRS.  BONNER.  No — Tom  of  course.  Don't  say 
a  word  about  Klargess — Tom  mustn't  think  I've 
told. 

MABEL.  Of  course  not.  (MOTHER  shakes  head) 
I'm  going  upstairs  until  dinner,  anyway.  (Exit  R.) 

DOCTOR.  (Off  L.  In  cheery  tones}  Why  come 
in — come  in,  sir.  Regular  Santa  Claus  weather 
you're  fetching  us. 

CORBIN.  (Outside)  It's  a  blizzard.  Is  Mr. 
Bonner  in? 

DOCTOR.    No.  sir.    But  Mrs.  Bonner  is  here. 


24        MRS.  LEFFINGWELL'S  BOOTS. 

CORBIN.  (Outside)  How  are  you,  Doctor ?  (We 
hear  him  stamping  the  snow  from  his  boots) 

DOCTOR.  Why,  Mr.  Corbin,  we  were  just  speak 
ing  of  you. 

MRS.  BONNER.    (In  surprise)    It's  Walter  Corbin. 

MOTHER.  I'll  get  out.  (Exit  R.,  with  domestic 
dispatch) 

DOCTOR.    Talk  about  telepathy. 

CORBIN.  (OffL.)  Good-evening,  Mrs.  Bonner — 
I  just  stopped  in  to  use  your  telephone. 

DOCTOR.  (Appearing)  The  drift  at  that  door  is 
fully  three  feet. 

CORBIN.  (Appearing  in  high  rubber  boots,  and 
with  reefer) 

MRS.  BONNER.    Why,  what  a  surprise ! 

CORBIN.  (Sees  table,  stops)  Oh — there's  a  party 
— excuse  me. 

MRS.  BONNER.    But  nobody  here  yet. 

CORBIN.  They'll  all  be  late,  I'm  sure.  I  walked 
over  to  a  building-  I'm  doin?  on  the  water  front. 
Been  two  hours  getting-  here.  Thought  you  wouldn't 
mind  my  using  your  'phone  to  get  a  rig  from  the 
station. 

MRS.  BONNER.  Of  course  not.  (CORBTN  crosses 
toward  'Phone  which  is  on  the  wall  just  inside  the 
arch  to  the^studio)  But  why—  (CORBTN  stofis)  Oh, 
dear,  I  wish  I'd  known  you  were  in  New  York. 
(Flutters) 

CORBIN.  (Laughing)  Thank  you.  (Goes  to 
'phone  i  R.) 

(MRS.  BONNER  turns  to  DOCTOR.) 

DOCTOR.  (Indicating  door  and  referring  td 
MABEL)  Don't  they  speak  to  each  other? 

MRS.  BONNER.     (Near  fireplace}     Sh 

CORBIN.     (Off)     Give  me  314  please— Kerwin's 

store. 
DOCTOR.    I  say  don't  they 


MRS.  LEFFINGWELL'S  BOOTS.         25 

MRS.  BONNER.  {In  undertone)  I  hear  you — and 
so  can  he.  Be  still,  please. 

CORBIN.  (Off)  Is  this  Kerwin?—  (Pause)  well, 
won't  you  see  if  there's  a  depot  wagon  there  and 
ask  him  to  call  for  Mr.  Corbin  at— (Pause)  What  ? 
(Pause)  None  at  all!  well,  say  wait  a  minute!— 
Don't  you  think  one'li  come  along?  (Pause) 
What's  that  ? 

DOCTOR.     (Pause)     Telephoning? 

MRS.  BONNER.     (Impatiently)     Yes. 

DOCTOR.  (Glancing  at  the  cards)  .  Did  you  ex 
pect  him? 

MRS.  BONNER.     (Hushing  him)    No — no. 

CORBIN.  Well  look  here — the  stable's  near  you 
isn't  it?  Well  can't  your  boy— (Pause)  Nobody 
at  all?  Well,  ring  off,  please,  I'll  talk  to  the  stable 
myself. 

(Enter  BUTLER  from  pantry.) 

BUTLER.  (Female  whoop,  way  off  as  he  opens 
door)  Please,  ma'am,  the  cook  says  will  the  Doctor 
kindly  look  at  the  maid's  ear — she  got  stuck  in  a 
snow  drift  on  her  way  to  the  stable  and  we  think  it's 
a  bit  frozen. 

MRS.  BONNER.  Why  dear  me!  Father,  please 
go  to  Nora — in  the  kitchen. 

DOCTOR.     (To  BUTLER)    What  is  it? 

BUTLER.  (Beckoning)  The  maid,  sir — ( DOCTOR 
joins  him}  T  gave  her  two  cocktails,  (NoRA 
whoops  off)  and  she's  a  bit  cheery,  ma'am.  (Exit 
DOCTOR  quickly)  But  maybe  with  an  old  gentle 
man — (Exit  after  DOCTOR) 

CORBIN.  Well,  ring  me  up  when  you  get  them, 
please.  (MRS.  BONNER  goes  anxiously  toward 
pantry.  Enter  CORBIN)  Depot  wagons  seem  to  be 
in  demand. 

MRS.  BONNER.    You  couldn't  get  one? 

CORBIN.    Not  yet 


.•6         MRS.  LEFFINGWELL'S  BOOTS. 

MRS.  BONNER.    But  why  must  you  go? 

CORBIN.  Oh — I've  an  appointment — in  New 
York. 

MRS.  BONNER.    Can't  you  telegraph. 

CORBJN.     (Declining)     Oh,  no,  really 

MRS.  BONNER.  (Pause — impressively)  Walter! 
— Mabel  Amslee's  here. 

CORBIN.     (Earnestly)     Mabel. 

MRS.  BONNER.    Yes. 

CORBIN.  Then — why  then  of  course  I  can't  stay 
— you  know,  don't  you  ? 

MRS.  BONNER.  No — I  don't  know  and  nobody 
knows.  It  just  seems  too  foolish  of  you  both. 

CORBIN.  It's  my  fault,  may  be.  I  said  I'd  ex- 
plain — and — but  then — you  know — well  I'd  rather 
not  talk  about  it  if  you  don't  mind. 

MRS.  BONNER.  Why  should  you  talk  about  it 
with  me?  But  I  think  if  you  only  got  together 
yourselves — and  to-night  when  everybody  else  has 
gone 

CORBIN.  No  really — thank  you,  Mrs.  Bonner, 
very  much — it'd  be  rather  taking  advantage  of — of 
her  don't  you  see?  (Telephone  rings)  Excuse 
me — (Exit) 

MRS.  BONNER.  (Earnestly  calling  after  hint) 
Now  think  twice — don't  order  that  wagon. 

CORBIN.  (  Off)  Yes — yes  Mr.  Bonner's  house — 
(Pause)  Why,  hello,  Jim — this  is  Walt — Walter 
Corbin — (Pause)  No — no — not  at  all — knew  noth 
ing  about  it — just  blundered  in,  to  use  the  telephone 
— Mrs.  Bonner's  right  here,  speak  to  her  yourself — 
where  are  you ?  club ?  Yacht  club?  (Speaks)  Mrs. 
Bonner — Mr.  Klargess.  (MRS.  BONNER  disappears 
and  CORBIN  appears) 

MRS.  BONNER.  (Off)  Good-evening,  Mr. 
Klargess — (Pause)  Yes,  isn't  it  awful — (Pause) 
Oh — now  don't  say  that — your  valise  came  at  four 
o'clock ;  and  your  things  are  all  laid  out  in  father's 
room  and — (Long  pause) 


MRS.  LEFFINGWELL'S  BOOTS         27 

CORBIN.  (In  low  tone,  urgently)  Ask  him  if 
there's  a  cab  or  wagon  there  at  the  club. 

MRS.  BONNER.  You  must — you  really  must — It 
makes  a  vacant  place  beside  the  loveliest  girl  you 
ever  saw — (Pause)  What?  (Pause)  I  have 
asked  him — he  says  he  must  go  to  New  York — 
What?  Wait  a  minute.  (Speaks  running  into 
dining  room  and  holding  to  the  receiver)  Mr. 
Klargess  says  you  can't  get  to  New  York  to-night. 

CORBIN.  Nonsense — He's  in  some  game  at  the 
club  there. 

MRS.  BONNER.  (Off)  Mr.  Corbin  says  you're 
playing  bridge  and  don't  wish  to  come.  What? 
(Pause)  Wait  a  minute.  (Speaks  as  before)  He 
says  you  really  can't  get  anywhere — that  it's  the 
worst  storm  since  Roscoe  Conklin  died.  Why  not 
stay — think  of  Mable. 

CORBIN.  (Displaying  boots  and  sweater)  But 
look  at  me — "The  Eau  Claire  Lumber  Co." 

MRS.  BONNER.  Use  Mr.  Klargess'  things.  (Calls) 
Wait  a  minute  I'm  talking  to  him.  (Speaks)  And 
Tom  has  three  suits  himself ;  one  pretty  good. 

CORBIN.  Let  me  speak  to  Klargess.  (They  ex 
change  places) 

MRS.  BONNER.    And  you  must  stay. 

CORBIN.  (At  'phone)  Say,  Jim — I'm  in  a  pair 
of  rubber  boots  and  a  reefer — what  (Pause)  Well, 
that's  what  I  wanted  to  know — thanks  old  man, 
I'll  send  the  valise  any  place  you  say !  (Pause) 
All  right,  Mendel's  then.  (Laugh)  By  jove — yes  I 
can  smell  it.  (Pause  and  laugh)  I  wish  I  had  your 
excuse.  Good-bye — (Speaks)  Mrs.  Bonner. 
(They  exchange  again) 

(Enter  DOCTOR,  3  L.) 

DOCTOR.  Mother!  where's  Mrs.  Rumsey? 
(Crosses  to  door  up  R.)  Think  of  putting  hot 
cloths  on  a  frost  bitten  ear.  (Exit) 


28         MRS.  LEFFINGWELL'S  BOOTS. 
(Enter  MRS.  BONNER.) 

MRS.  BONNER.  Thank  you  so  much.  Do  yow 
know  where  father's  room  is  ?  You  built  the  house. 

CORBIN.  Well  I  don't  know  it  by  that  name — of 
course. 

MRS.  BONNER.  I'll  take  you  there.  But  tell  me, 
do  you  wish  to  sit  next  to  Mabel? 

CORBIN.  Of  course — but  hadn't  you  better  ask 
her? 

MRS.  BONNER.  I  shall— but  anyway  that's  where 
I'd  had  Klargess. 

(Enter  DOCTOR  and  MOTHER  by  door  up  R.    DOCTOR 
carries  bottle.) 

CORBIN.    Good  evening,  Mrs.  Rumsey. 

MOTHER.  Mr.  Corbin,  (They  shake  hands) 
Why?  (Surprise) 

MRS.  BONNER.  (Catching  DOCTOR'S  arm)  Father 
— please  take  Mr.  Corbin  to  your  room  and  give 
him  Mr.  Klargess'  clothes — Mr.  Klargess  isn't  com 
ing. 

DOCTOR.  (Giving  wife  the  bottle)  Certainly. 
Here,  mother,  you  apply  this  to  that  girl — both 
ears. 

CORBIN.  Somebody  frost  bitten?  (Winces  as 
mother  opens  bottle) 

MRS.  BONNER.  The  waitress.  (Exit  MOTHER  up 
L.  to  pantry)  Oh !  (Winces  at  the  odor  of  the  lini 
ment  reaches  her) 

DOCTOR.    This  way,  Mr.  Corbin. 

CORBIN.     Thank  you.     (Exit  R.  with  DOCTOR) 

(Enter  BUTLER  up  L.) 

BUTLER.    A  gentleman  in  the  kitchen,  ma'am. 

MRS.  BONNER.    Who? 

BUTLER.    One  of  the  guests,  I  think. 


MRS.  LEFFINGWELL'S  BOOTS.        29 

(Enter  LEFFINGWELL  up  L.  He  is  a  chemist-look 
ing  person  with  bald  head,  heavy  red  beard, 
and  gold  rimmed  spectacles.  He  is  heavily 
wrapped. ) 

LEFFINGWELL.  Excuse  my  coming  by  the  back 
way,  Mrs.  Bonner. 

MRS.  BONNER.    Why,  Mr.  Leffingwell 

LEFFINGWELL.    But  I  took  the  first  door. 

MRS.  BONNER.    Is  Mrs.  Leffingwell  with  you? 

LEFFINGWELL.  I'm  going  to  telephone  her.  I 
haven't  been  home,  you  see. 

MRS.  BONNER.    You  haven't? 

LEFFINGWELL.  No.  The  trolley  stuck  and  I  came 
tkk  far  on  a  snow  plow.  You  don't  mind  my  using 
your  'phone?  Cora  is  so  nervous.  (Exit  R.) 

MRS.  BONNER.    Not  at  all. 

(Enter  MABEL  excitedly  and  looking  back  toward 
studio.) 

MABEL.    Eva  ? 

MRS.  BONNER.    Mabel? 

MABEL.  Some  one  just  crossed  the  studio;  talk 
ing  with  your  father ! 

MRS.  BONNER.  (Confirming  MABEL'S  apprehen 
sion)  Yes.  It's  quite  accidental,  dear.  He  came 
in  to  telephone — it's  the  worst  blizzard  since  Roscoe 
Conklin  died. 

LEFFINGWELL.  (At  'phone)  One  ninety  D, 
please.  No  D— fourth  letter— A— B—C—D.  One 
ninety. 

MABEL.    Who's  that? 

MRS.  BONNER.  Mr.  Leffingwell — he  also  came  in 
to  telephone. 

MABEL.    But  the  other  is? 

MRS.  BONNER.  Yes !  Now  don't  be  silly,  Mabel 
dear,  for  the  credit  of  all  women  don't  let  him  see 
that  you're  broken  up  by  it ;  he  knows  you're  here. 


30        MRS.  LEFFINGWELL'S  BOOTS. 

MABEL.  Of  course  I  shan't;  but  it  just  spoils  the 
whole  evening — doesn't  it  ? 

(MRS.  BONNER  takes  MABEL  consolingly  to  fire.) 

LEFFINGWELL  (At  the  'phone)  Hello — who  is 
this?  (Pause)  Oh,  that  you,  Katie?  (Pause) 
Well  this  is  Mr.  Leffingwell — you  tell  Mrs.  Leffing- 
well  that— -(Pause)  What's  that?  (Pause)  Gone 
where?  (Pause)  Oh—  (Pause)  Oh—  (Pause) 
When  did  they  leave?  (Pause)  Oh — that's  funny ; 
well  all  right— all  right,  Katy— I'll  be  right  over. 
(Enters)  Cora's  on  her  way  here,  it  seems. 
(Smiles)  Likes  to  give  me  lessons  in  punctuality. 

MRS.  BONNER.  Miss  Ainslee,  may  I  present  Mr. 
Leffingwell? 

(They  bow  and  speak.) 

LEFFINGWELL.    Miss  Ainslee — charmed,  I'm  sure. 
(Enter  DOCTOR.) 

DOCTOR.  Hello,  Mr.  Leffingwell — there's  a  sen 
sible  man — no  dress  suit  in  weather  like  this. 

LEFFINGWELL.  Just  going  home  to  put  it  on. 
(Starts  L.) 

MRS.  BONNER.  Take  our  wagon.  (Tries  to  ring 
under  table;  'does  so) 

LEFFINGWELL.  'Tisn't  five  hundred  yards  across 
lots. 

MRS.  BONNER.  I'm  sure  you'll  save  time  by  the 
wagon.  (Enter  BUTLER  up  L.  answering  bell)  Tell 
the  coachman  to  come  round  with  the  buggy  at  once. 

BUTLER.    Yes  ma'am.     (Exit) 

LEFFINGWELL.  Really  no  need  of  it — Tom's  home 
of  course? 

MRS.  BONNER.    No  he  isn't. 

LEFFINGWELL.   Well — well ! 


MRS.  LEFFINGWELL'S  BOOTS.      31 

DOCTOR.  He  was  home  at  four ;  but  a  valise  came 
then  belonging  to  a  man  Tom  doesn't  like  and  whom 
he  didn't  know  Mrs.  Bonner  had  invited ;  and  Tom 
went  out. 

MRS.  BONNER.  (After  trying  to  stop  DOCTOR) 
What  do  you  think  of  that? — what's  your  opinion 
of  a  jealous  husband,  Mr.  Leffingwell?  (Banters) 

LEFFINGWELL.  (Seriously)  Nothing  if  there's 
no  cause  for  it. 

MRS.  BONNER.  Well  there's  certainly  no  cause 
for  this. 

DOCTOR.  (Chaffing)  I  must  say  Eva  set  Tom 
the  example. 

MRS.  BONNER.    Father! 

DOCTOR.  You  know  Tom  made  his  reputation  on 
the  female  figure — He  did  that  beautiful  ceiling  in 
the  Waldorf ;  you  remember.  Then  he  married ;  and 
Eva  discovered  he  had  to  have  live  women  for 
models.  Eva's  interest  in  art  rapidly  progressed 
from  curiosity  to  disapproval,  and  finally,  nervous 
prostration. 

MRS.  BONNER.  Why,  father,  how  can  you  exag 
gerate  in  that  manner?  (Turns)  \Vhy,  Mabel 
dear — (Turns  to  MAREL.  They  go  to  studio  door  R.) 

DOCTOR.  (Amiably  to  LEFFINGWELL)  So  now 
Tom  goes  in  for  animals,  Eva  isn't  a  bit  jealous  of  a 
cow ;  or  a  setter  dog  bv  a  fireplace. 

MRS.  BONNER.  (Returning)  Tom  prefers  to 
paint  animals. 

(MABEL  disappears  R.) 

DOCTOR.  People  don't  buy  many  cow  pictures  ;  and 
Tom  used  to  make  thousands  of  dollars  out  of  a  few 
gauzy  ladies  over  a  window — so  I  tell  Eva  that  if 
he  wants  to  walk  arottnd  in  the  snow  because  an 
other  fellow's  valise  comes  here,  it's  a  very  mild  kind 
of  criticism  after  all. 

MRS.  BONNER.    But  not  at  a  dinner  party— ^up- 


32         MRS.  LEFFINGWELL'S  BOOTS. 

pose  you  are  jealous  of  a  man — what  would  occur 
at  a  dinner  party  of  ten? 

(Door  bell  rings  off  R.) 

LEFFINGWELL.  There  are  some  men  one  can't  be 
too  careful  of ;  and  the  husband  must  decide  who 
those  men  are,  Mrs.  Bonner.  I  know  a  fellow — 
an  architect  of  great  reputation — put  a  lady — a  lady 
that  I  happen  to  know,  in  the  most  awkward  posi 
tion — cost  her  husband  a  barrel  of  money  to  keep 
her  name  out  of  the  papers.  Dinner  of  ten?  This 
was  in  the  biggest  hotel  in  Bar  Harbor. 

MRS.  BONNER.  (Interrupting;  and  fearful  for 
MABEL)  Mr.  Leffingwell!  (Then  for  effect}  Let 
us  go  into  the  studio — everybody — there's  a  beauti 
ful  fire  in  there:  (Exit) 

LEFFINGWELL.    (Following  to  door)    What  is  it? 

DOCTOR.    Pst — (Touches  LEFFINGWELL) 

LEFFINGWELL.    Eh?    (Returns) 

DOCTOR.  (In  low  tone)  Pretty  close  call  that — 
Bar  Harbor!  Architect!  That  young  lady — Miss 
Ainslee  was  engaged  to  the  man  I  think  you  mean — 
Found  a  lady's  boots  on  his  fire  escape,  didn't  they  ? 
(Smiles) 

LEFFINGWELL.     (Reluctantly)     Yes. 

DOCTOR.  (In  eager  enjoyment)  That's  the  boy 
— ever  hear  who  the  woman  was  ? 

LEFFINGWELL.  (Closing  the  question)  No — 
never,  (Door  bell  off) 

DOCTOR.  But  you  said  you  knew  her  husband, 
didn't  you  ?  Cost  him  so  much  to  keep  her  name  out 
of  the  papers. 

LEFFINGWELL.  (Annoyed)  I  can't  talk  about 
it  with  others  within  hearing. 

DOCTOR.  Oh  I  hear  you  if  you  talk  low  enough. 
"Vou  know  it's  the  bass  viol  one  hears  furthest  in 
the  string  band,  and  the  tuba  in  the  brass  ones — 
"  umpa  " — "  umpa  " — all  the  trans-Atlantic  steamers 


MRS.  LEFFINGWELL'S  BOOTS.        33 

have  their  fog  whistles  keyed  low — science  has  dem 
onstrated  that  it's  the  low  vibration  that  carries — 
so  if  my  friends  will  only  talk  bass,  and  contralto — 

(Enter  MOTHER  up  L.) 

MOTHER.  (Tranquilly)  Here's  your  medicine, 
Henry — I  put  it  in  both  ears  and  filled  them  with 
cotton. 

DOCTOR.    You  put  it  in  the  ear  ? 

MOTHER.    In  both  ears. 

DOCTOR.  That's  a  liniment — I  told  you  to  put  it 
on  the  ears.  (Going. — to  LEFFINGWELL)  Frozen 
ears!  The  cook  first  parboiled  them  ;  and  now  Mrs. 
Rumsey  has  deviled  them,  and  stuffed  them  with 
cotton.  (Exit  up  i+) 

(Enter  MRS.  BONNER,  R.) 

MRS.  BONNER.    What's  the  matter? 

LEFFINGWELL.  I  hope  Miss  Ainslee  didn't  hear 
me? 

MR*.  BONNER.  No.  (Bell  rinas}  Dear  me — 
whv  don't  the  servants  answer  that  bell  ? 

MOTHER.  The  butler  went  to  the  stable.  I'm 
afraid  the  maid — ah— doesn't  hear  it — I'll  answer 
it.  dear.  (Exit  up  R.) 

MRS.  LEFFINGWELL.  T  want  you  to  promise  me, 
Mr.  Leffinewell,  not  to  make  any  references  to  that 
subject  at  dinner. 

(LEFFINGWELL    protests    hi    dumb    show.     Enter 
BUTLER.) 

BUTLER.  The  coachman's  sorry,  ma'am,  but  he 
can't  open  the  stable  doors.  They're  not  built  to 
slide,  he  savs.  like  stable  doors  ought  to.  They 
open  out  and  the  drift's  that  heavy  he  can't  do  it. 


34        MRS.  LEFFINGWELL'S  BOOTS. 

LEFFINGWELL.  (To  MRS.  BONNER)  No  matter, 
really,  I'll  walk.  It  isn't  500  yards  across  lots. 

MRS.  BONNER.  Stupid  not  to  be  able  to  open  the 
stable  doors. 

LEFFINGWELL.    Architect's  fault — who  was  he? 

MRS.  BONNER.  Walter  Corbin — supposed  to  be 
one  of  the  best. 

LEFFINGWELL.  'Mm— I  should  say  not  for  domes 
tic  work.  (Going)  I'll  be  only  a  minute  late— but 
don't  delay  the  dinner  for  me. 

MRS.  BONNER.    Oh — yes. 

(Exit  LEFFINGWELL  2  L,    Enter  MOTHER  up  R.) 
MOTHER.    Where's  Mabel? 

(Exit  BUTLER  to  pantry.) 

MRS.  BONNER.    In  the  studio. 

MOTHER.     (Nervously)    Her  brother's  here. 

MRS.  BONNER.    Which  brother? 

MOTHER.    Dick — the  one  that's — (Taps  head) 

(Enter  DICK.) 

DICK.  Excuse  me,  Mrs.  Bonner — but  there's  some 
dreadful  trouble.  (He  speaks  in  nervous,  jerky 
way  and  with  shifting  glances) 

MRS.  BONNER.    Why,  Dick — what  is  it? 

DICK.    Is  Mr.  Bonner  in  ? 

MRS.  BONNER.  No.  Has  anything  happened  to 
him? 

DICK.    Oh — no — but  I  need  his  help. 

MRS.  BONNER.    What  is  it  ? 

DICK.     Mabel!     (Sits  overcome  by  window^ 

MRS.  BONNER.    Mabel?   What  about  her? 

DICK.    Gone — (Buries  his  face) 


MRS.  LEFFINGWELL'S  BOOTS.         35 

MRS.  BONNER.  Gone  where?  (DicK  points  up. 
MRS.  BONNER  looks  at  mother) 

MRS.  BONNER.  Yes — but  she'll  be  down  again  in 
a  minute. 

(DICK  looks  at  MRS.  BONNER.) 

DICK.    Who? 

MRS.  BONNER.    Why,  Mabel. 

DICK.  (Tearfully)  Oh  no,  you  don't  under 
stand. 

MRS.  BONNER.    What  is  it? 

DICK.     (Displays  telegram)     She's  dead — dead. 

MRS.  BONNER.  "Your  sister  Mabel?  (DicK  nods 
inarticulate.  Exit  MOTHER  R.)  Why,  Dick,  what 
can  you  mean  ?  Mabel's  here  with  me. 

DICK.     (Looks  up — pause)    Mabel? 

MRS.  BONNER.  Why  yes.  Does  that  telegram  say 
Mabel's  dead? 

DICK.    (Affecting  astonishment)    Yes. 

MRS.  BONNER.    Who  sent  it  ? 

DICK.    It's  signed  "  mother." 

(Enter  MABEL,  R.y 

MABEL.    (Accusingly)    Dick. 

DICK.  (Emotionally)  Mabel.  (To  her  with  em 
brace) 

MABEL.  (Severly)  I  thought  you  were  in  Cali 
fornia  ? 

MRS.  BONNER.  The  poor  boy's  just  had  a  tele 
gram  saying  you  were — a  telegram  with  bad  news  of 

MABEL.     (Suspiciously)     Oh.     (Pause) 
^  DICK.     (Weakly)     Can't  see  who'd  do  a  thing 
like  that.    (Regards  telegram  with  severity) 

MABEL.  (Putting  MRS.  BONNER  out  R.)  Mrs. 
Bonner,  won't  you  talk  to — (Pause)  any  of  your 


36        MRS.  LEFFINGWELL'S  BOOTS. 

guests,  who  may  come  down  stairs.  Keep  them  there 
a  minute. 

MRS.  BONNER.    Certainly.    (Exit  R.) 

MABEL.  (Nervously)  Give  me  that  telegram, 
Dick.  (DicK  gives  telegram.  She  continues  with 
just  a  glance  at  it.  Sits  by  him)  What  do  you 
mean,  Dick? — haven't  you  disgraced  the  family 
enough  already?  You've  cheated  every  friend  of 
father's ;  and  every  business  associate  of  poor 
brother  George ;  and  now  you  begin  on  my  friends 
— I  can't  stand  it — Dick — I  won't  stand  it. 

DICK.    I  didn't  know  you  were  here  ?    Did  I  ? 

MABEL.  Of  course  you  didn't ;  but  you  know  these 
were  my  friends,  Dick — Mr.  Bonner  knows  of  you 
only  as  my  brother — I  didn't  think  you'd  try  to — to 
get  money  from  him  and  so — so  dishonestly.  (Dis 
plays  telegram) 

DICK.  I  didn't — I  came  here  to  the  Bevin  House 
to  see  a  man  that  was  stopping  there — a  classmate 
of  mine — a  sympathetic  fellow,  that  a  telegram  like 
that,  would  appeal  to — but  he's  gone  to  -New  Mex 
ico  on  business — I  don't  know  anybody  else  in  the 
town  and — and  I've  got  to  have  a  hundred  dollars 
"  Mab  "  I've  just  got  to — that's  all. 

MABEL.  Mother  sent  you  two  hundred  the  day 
before  I  came  here. 

DICK.  That  was  to  "  pay  up  "  with.  It  was  gone 
before  I  got  it — you  see,  Mabel,  you're  a  girl — you 
haven't  any  idea  of  the  money  a  man  needs — just 
to  look  decent,  and  buy  a  drink  for  the  men  that 
buy  a  drink  for  him. 

MABEL.  You  could  have  all  you  need,  Dick,  if 
you'd  only  behave.  If  you'd  only  do  an  honest  day's 
work  for  father  or  for  brother  George. 

DICK.  Haven't  I  tried  that  ?  Father  and  George 
don't  understand — they're  business  men — 7  can't 
live  in  Louisville. 

MABEL.  Why  can't  you,  Dick  ?  A  great  many  do 
live  there. 


MRS.  LEFFINGWELL'S  BOOTS.         37 

DICK.  (Innocently)  Not  as  many  as  live  in 
Pittsburg. 

MABEL.    Well? 

DICK.  And  nobody  lives  in  Pittsburg  that  can 
get  away. 

MABEL.  That's  nonsense,  Dick. 

DICK.  No.  There's  a  society  here  in  New  York 
City  called  the  Pennsylvania  society — eight  hun 
dred  strong — nearly  all  of  them,  men  that  have 
escaped  from  Pittsburg — after  a  fellow's  been 
a  man,  Mabel,  I  don't  mean  a  married  man — or  one 
of  these  "  quick  lunch,"  business  men  but  a  man — a 
free  man,  in  New  York — at  liberty  to  go  any  place 
in  the  town  he  wants  to,  he  can't  live  in  Louisville 
again  or  any  place  like  that.  (Pause) 

MABEL.  That's  silly  prejudice  Dick;  Louisville's 
a  beautiful  little  city. 

DICK.  Oh,  yes,  the  local  papers  call  it  a  metrop 
olis — I  know,  but  you  pay  one  of  them  for  a  full 
page  "ad  ";  pay  'em  real  "money,  and  the  next  day 
the  editor  starts  for  New  York — I've  got  only  one 
life  to  live  and  I  don't  mean  to  waste  it  out  there. 

MABEL.  Oh,  Dick  why  do  you  behave  like  this — 
you  don't  know  what  you're  doing  to  father.  He 
looks  seventy  instead  of  fifty-eight  and  all  in  six 
years  of  this  terrible  conduct  by  you. 

DICK.  Oh,  no — they  all  look  that  way,  Mabel, 
you  simply  notice  father  more  than  the  rest,  because 
you're  with  him.  What  can  you  expect  ?  He  passes 
that  plate  in  the  new  stone  church  Sunday  morning 
and  thinks  he's  had  a  day's  recreation — I  sized  it  all 
up  when  I  used  to  come  home  in  the  old  vacation 
days.  It  was  a  body  blow  even  in  my  Sophomore 
years,  but  after  the  lunior  commencement,  I  whis 
pered  myself — "  Little  Dickey,  your  post  office  ad 
dress  will  be  f  number  one  New  York '." 

MABEL.  But  where's  your  pride,  Dick?  You 
can't  support  yourself  in  New  York. 


38        MRS.  LEFFINGWELL'S  BOOTS. 

DICK.  No  outsider  does  at  first,  but  I  will.  You 
wait. 

MABEL.  We  have  waited — six  years — and  every 
few  months  has  brought  some  awful  story  of  you — i 
checks  on  banks  where  you  had  no  money — George's 
name  and  father's  to  other  checks  they  hadn't 
signed 

DICK.  I  always  wired  them — didn't  I  ?  And  al 
ways  wrote  and  explained  it.  Mother  understands 
it. 

MABEL.  But  those  things  are  crimes,  Dick  dear. 
You  seem  so  callous  to  that  idea.  They're  crimes- 
men  have  been  sent  to  jail  for  less  offences  than 
yours. 

DICK.  Oh,  I  can't  go  into  the  ethics  of  the  thing 
with  you,  Mab.  There's  a  certain  amount  of  money 
coming  to  me  some  day  isn't  there  ? — When  the  Gov 
ernor — when  he  quits? 

MABEL.    Not  necessarily. 

DICK.  (Impatient  at  feminine  logic)  Of  course 
not  necessarily — but  naturally? — Well  it'll  do  me 
a  great  deal  more  good  now. 

MABEL.    The  family  doesn't  think  so. 

DICK.  The  family's  in  Louisville — I'm  in  New 
York.  I  know — now  when  I  sit  up  nights  and  think 
out  a  scheme ;  the  necessary  machinery  to  get  some 
of  it  to-day  instead  of  sordidly  hoping  for — for 
anybody's  death — you  can't  call  that  crime? 

MABEL.     The  law  calls  it  crime. 

DICK.    What  is  the  law  ? 

MABEL.     (Posed)    What? 

DICK.     (Repeating)     What  is  the  law? 

MABEL.  (Struggling)  Well — it — the  law  is — 
it's  the  rules  of  conduct  for — for  society. 

DICK.  Not  at  all — a  law  is  generally  an  arbi 
trary  prohibition  of  something  the  majority  of  the 
people  prefer  to  do.  For  example — "  Keep  off  the 
grass  " ;  that's  because  most  people  naturally  pre 
fer  to  get  on  the  grass.  Walk  on  it.  And  sit  on 


MRS.  LEFFINGWELL'S  BOOTS.         39 

it  and  roll  on  it.  And  you  can't  make  it  morally 
wrong  by  calling  it  bad  names.  I'm  no  criminal 
because  I  ask  a  little  help  from  the  family. 

MABEL.  Why,  Dick — that  kind  of  talk  sounds 
almost  as  tho'  you  hadn't  good  sense. 

DICK.  (Unnecessarily  resentful)  I  told  you 
never  to  say  that  to  me — I'm  the  only  one  in  the 
family  that  has  good  sense — excepting  you  perhaps. 
You  manage  to  get  down  here  a  month  or  two  every 
year  on  some  excuse — what's  on  to-night? 

MABEL.    Mrs.  Bonner  has  some  guests  to  dinner. 

DICK.    Stopping  here  ? 

MABEL.     No — coming. 

DICK.     Where's  your  room? 

MABEL.  On  the  studio  gallery — just  above  that 
door. 

DICK.     (Going  to  door)     Show  me. 

MABEL.  (Following)  No,  Dick — don't  go  in 
the  studio.  You  must  go  back  to  the  place  where 
you're  staying.  Is  it  far? 

DICK.  About  a  block.  But  I've  got  to  have  that 
hundred  by  morning. 

MABEL.  But  not  this  way,  Dick,  (Indicates  tele 
gram)  not  dishonestly. 

DICK.     What  other  way  is  there? 

MABEL.    You  can  work. 

DICK.  Not  a  hundred  dollars'  worth  in  one  night 
— unless  I  work  some  friend. 

MABEL.  The  family  will  send  it,  if  they  know 
you're  trying;  if  I  write  them  you  are. 

DICK.  There  isn't  time  for  that.  I — I  endorsed 
a  note  that's  due  in  the  morning. 

MABEL.  Is  that  so  pressing — your  name  on  the 
back  of  a  note? 

DICK.    'Tisn't  my  name. 

MABEL.    Whose  is  it? 

DICK.  A  friend's.  You  see  he  doesn't  know  it, 
and  if  I  can  take  the  note  up  at  nine  he  won't  need 
to  know  it. 


40        MRS.  LEFFINGWELL'S  BOOTS. 

MABEL.  (In  horror)  You  mean  you  forged  a 
signature  ? 

DICK.     Yes. 

MABEL.    Not  father's  nor  George's? 

DICK.    No — a  friend's  I  told  you. 

MABEL.    Dick ! 

DICK.  Now  don't  preach  about  it,  Mabel.  Help 
a  fellow  if  you  can  but  don't  nag. 

MABEL.    I  can't  help  you,  Dick. 

DICK.  (Regarding  her  jewels)  You  could  lend 
me  that  pigeon  blood  ring — (She  shakes  her  head) 
or  that  necklace. 

MABEL.     — they're  not  mine.     They're  mother's. 

DICK.    Be  yours  some  day — she's  always  said  so. 

MABEL.    I  can't  Dick. 

DICK.    I  don't  see  why  you  can't. 

MABEL.    They're  entrusted  to  my  care. 

DICK.    Suppose  you  lost  one  of  them  ? 

MABEL.    That  would  be  an  accident. 

DICK.  Well  have  an  accident — say  you  lost  the 
ring. 

MABEL.  Which  would  be  adding  a  lie  to  the 
dishonesty. 

DICK.  Isn't  wearing  them — also  a  lie?  It's  the 
pretence  that  they're  yours  when  you  know  they're 
not.  You're  willing  to  issue  that  lie  thirty  days  in 
the  month  just  to  feed  your  vanity — but  one  little 
fib— the  word  "lost"  instead  of  "lent"— in  order 
to  keep  me  out  of  the  police  station  and  your  fem 
inine  sense  of  rectitude  rises.  You  see,  Mabel,  it's 
you,  and  the  people  of  your  kind  that  haven't  good 
sense.  You're  the  law  makers  and  the  law  abiders 
—the  people  that  don't  tell  lies  but  are  dev'lish 
willing  to  live  them. 

MABEL.  No,  Dick— I'll  telegraph  home.  I'll  do 
that. 

DICK.  There  isn't  time  to  telegraph.  You  see  I 
was  counting  on  this  classmate  of  mine  at  the  Bevin 
House.  He  was  there  yesterday.  But  my  luck — 


MRS.  LEFFINGWELL'S  BOOTS.        41 

I  pick  the  one  day  in  the  year  that  he  goes  away. 
Then  I  come  here  with  that  telegram.  The  one 
house  in  America,  the  one  house  fully  equipped  to 
— to  doubt  it — when  your  hard  luck  gets  to  running 
in  a  tide  like  that  it  becomes  ridiculous  that's  all — 
ridiculous,  (Telephone  rings)  What's  that?  (He 
starts  nervously) 

MABEL.    The  telephone. 

(Enter  MRS.  BONNER  up  R.) 

MRS.  BONNER.  That's  the  'phone,  isn't  it?  Ex 
cuse  me.  (Exit  to  'phone) 

DICK.  (Urging  in  undertone)  She's  probably 
got  a  hundred  herself. 

(MABEL  shakes  head.) 

MRS.  BONNER.  (At  'phone)  Hello — yes — Mrs. 
Bonner. 

DICK.  These  commuters  usually  keep  a  fair 
amount  in  the  house  with  them. 

(MABEL  shakes  head.) 

MRS.  BONNER.  A  telegram  for  me.  Thank  you, 
Mr.  Waterbury — please  read  it. 

DICK.    Do  vou  room  alone  ? 

MABEL.    Of  course  I  room  alone. 

DICK.  (Mutters;  with  frown)  You  know  I 
could  take  them  from  you  now  by  force — if  I 
wanted  to  be  ugly — you  know  that,  don't  you?  I 
could  step  right  out  there  and  you  wouldn't  dare 
make  a  row  about  it. 

MABEL.    Sh 

MRS.  BONNER.  (Dejectedly)  Oh — oh  dear — 
well  thank  vou  very  much. 

DICK.    Only  my  decency — that's  all. 


42        MRS.  LEFFINGWELL'S  BOOTS. 
(Enter  MRS.  BONNER.) 

MRS.  BONNER.  What  do  you  think,  my  dear? 
From  Mr.  Reed — they're  all  of  them — the  John 
stons — Mr.  Newton — Jennie  Prentiss — all  at  42d 
street — not  a  train  running. 

MABEL.    How  dreadful. 

MRS.  BONNER.  (Turns  to  table)  And  dinner 
for  ten — terrapin — larded  fillet,  and  squabs.  You 
know  I  could  sit  right  down  and  cry  about  it. 

DICK.  (Grimly)  I  don't  think  I'd  cry,  Mrs. 
Bonner  about  having  too  much  terrapin — there  are 
deeper  sorrows. 

MRS.  BONNER.  (After  an  astonished  pause) 
Thank  you,  Dick  I  won't. 

(Enter  DOCTOR  up  L.) 

DOCTOR.    She's  all  right,  Eva. 

MRS.  BONNER.    Who? 

DOCTOR.  Nora— why,  Dick,  this  is  an  unexpected 
pleasure. 

MRS.  BONNER.  Father — I've  had  a  telegram — 
none  of  the  New  Yorkers  coming.  You  and  mother 
must  help  us  eat  the  dinner. 

DOCTOR.     IVe  had  one  dinner  with  the  children. 

MRS.  BONNER.  But  that  was  a  very  light  one; 
and  Dick  must  stay,  too. 

DICK.    Well  really,  Mrs.  Bonner — — 

MRS.  BONNER.  We  won't  be  disappointed.  Well 
just  make  an  informal  picnic  of  it  and  have  a  good 
Jime. 

DICK.  Wttt  thank  you — if  you  insist.  ^L&xder) 
Tmapm  for  ten.  (To  DOCTOR) 

DOCTOR.  (Warningly)  Terrapin  takes  four 
hours  to  digest. 

DICK.  Well,  IVe  got  the  time.  I  was  just  com 
plaining,  Doctor,  of  my  own  hard  luck — but  this 


MRS.  LEFFINGWELL'S  BOOTS.        43 

looks  like  a  good  omen — doesn't  it?  (Indicates 
table) 

DOCTOR.  I  should  say  so.  You  believe  in  omens, 
Dick? 

DICK.  Every  man  with  any  sporting  blood  in  his 
veins  believes  in  omens. 

(The  fountain  ceases  running  properly,  and  plays 
full  onto  DICK'S  breast.) 

MRS.  BONNER.    Oh — there's  a  bug  in  it. 

DICK.  (Fatefully)  Well  if  it's  only  a  bug. 
(Turns  up  his  collar  and  takes  it) 

MABEL.    Stand  to  one  side,  Dick. 

DICK.  (Stubbornly)  Not  when  things  are  be 
ginning  to  come  my  way  as  strongly  as  that. 

MRS.  BONNER.  Dear  me — how  does  one  turn  it 
off?  (Rings) 

MABEL.    Dick,  that's  foolish. 

DICK.  Not  if  it's  only  a  bug — and,  if  it  isn't  a 
bug  I  want  to  know  it. 

(Enter  BUTLER.) 

MRS.  BONNER.  The  fountain's  out  of  order,  call 
Nora,  please. 

(Exit  BUTLER.) 

DOCTOR.    That'll  make  you  ill,  Dick. 

DICK.  Oh,  I  think  not.  I'm  glad  the  butler 
couldn't  stop  it — I'll  wait  for  what's  her  name—. 
Nora?  (Enter  NORA  with  very  red  face  and  ears 
tied  up — she  promptly  dives  and  shuts  off  fountain) 
What  was  that? 

MABEL.    Be  still,  Dick — you'll  offend  her. 

(NoRA  reappears.) 


44        MRS.  LEFFINGWELL'S  BOOTS. 

MRS.  BONNER.    Thank  you,  Nora. 

DICK.  (Fascinated  by  NORA'S  ugliness  in  her 
frozen  make-up)  Yes,  thank  you. 

NORA.     (Regarding  him)     You're  welcome,  sir. 

DICK.  Any  time  I  can  do  as  much  for  you  call  on 
me. 

MRS.  BONNER.    That  will  do,  Nora. 

NORA.    Yes,  Ma'am.     (Exit) 

DOCTOR.    (To  DICK)    She's  frost  bitten. 

DICK.    She  looks  it — (Pause) 

MRS.  BONNER.     So  you  stay,  don't  you,  Dick? 

DICK.    (Turns  down  his  collar)    Yes,  thank  you. 

MRS.  BONNER.  I'll  put  you  next  to  Mrs.  Leffing- 
well. 

DICK.     (Quickly)     Next  to  whom? 

MRS.  BONNER.  Mrs.  Leffingwell — Mrs.  Howard 
Leffingwell. 

DICK.  (Stung)  Oh — well  really — you  see,  Mrs. 
Bonner — (Pause;  and  with  haunted  glare  at  the 
fountain)  that  wasn't  a  bug. 

MRS.  BONNER.    It  doesn't  matter,  does  it  ? 

DICK.  (Rousing  himself)  I  think,  I  won't  stay, 
thank  you.  I've  heard  of  the  Leffingwells — they're 
rather  dressy. 

MRS.  BONNER.  What  of  that — here's  father  not 
dressed — or  if  you  wish  it  you  can  have  a  suit  of 
Tom's — Mr.  Corbin  is  wearing  Mr.  Klargess* 
clothes. 

DICK.     (In  further  alarm)     Who  is? 

MRS.  BONNER.    Mr.  Corbin. 

DICK.    Which  Mr.  Corbin  ? 

MABEL.    Walter  Corbin. 

DICK.  (Passing  his  hand  over  his  eyes)  With 
the  Leffingwells? 

MRS.  BONNER.    Yes. 

DICK.  (More  haunted.  Pause)  That  wasn't  a 
bug.  (Looks  at  fountain.  Starts  to  door) 

MABEL.    Dick 


MRS.  LEFFINGWELL'S  BOOTS.        45 

CORBIN.  (Appearing  c.)  Have  I  kept  you  wait 
ing? 

DICK.  (Suddenly  at  seeing  CORBIN)  Good 
night.  (Exit  3  L.  into  the  snow  and  night) 

MRS.  BONNER.  (Calling  after)  Why,  Dick — 
Dick,  please  stay.  (Turns)  Why,  what  made  him 
do  that? 

CORBIN.     (To  MABEL,  uneasily)     How  are  you? 

MABEL.     (Constrained)     Good  evening. 

MRS.  BONNER.  (Seeing  CORBIN  and  MABEL) 
Oh — I'll  get  mother  and  we  won't  wait  any  longer 
for  anybody — (Significantly)  Come,  father — 
Mabel,  I  wish  you'd  have  the  candles  lighted  and 
seat  the  party  to  suit  yourselves — you  and  W7alter. 
(Exit) 

DOCTOR.  (Pausing  in  exit)  Have  I  time  for  a 
dress  suit?  (Exit) 

CORBIN.     (Pleading)     Mabel. 

MABEL.     (Coldly)     Mr.  Corbin. 

CORBIN.    Is  it  Mr.  Corbin? 

MABEL.  Mrs.  Bonner  asked  us  to  light  the 
candles.  (At  pantry  door)  Oh,  butler — I  think 
Mrs.  Bonner  wishes  the  table  lighted  now. 

BUTLER.  (Off)  Yes,  Miss.  (MABEL  moves 
doivn  to  window) 

CORBIN.  (Following)  Is  that  all  our — our  as 
sociation  has  meant? 

MABEL.     It  seems  so. 

CORBIN.    Does  it? 

MABEL.  There  was  very  little  mutual  obligation 
in  it — or — or  trust. 

CORBIN.    Trust? 

MABEL.    Yes,  trust. 

(Enter  NORA  with  matches.) 

CORBIN.  (After  watching  NORA  strike  one  or 
two  matches)  I'll  do  that  if  you  don't  mind.  Mrs. 


46        MRS.  LEFFINGWELL'S  BOOTS. 

Bonner  asked  me  to  light  them.  (Takes  the 
matches) 

NORA.    Thank  you,  sir. 

CORBIN.  You're  the  girl  they  put  that  stuff  on, 
aren't  you? 

NORA.    Yes,  sir.    (Dives  under  table) 

CORBIN.  Is  there  something  to  do  there?  (The 
bell  rings) 

NORA.  (Calling  from  under  table)  Never  mind, 
Mr.  Orton,  it's  me. 

CORBIN.  (After  a  look  about — puzzled)  Is  Mr. 
Qrton  there? 

NORA.    (Calling)    Please  watch  it,  Miss  Ainske. 

CORBIN.    Watch  it? 

(Enter  BUTLER  with  cocktails.  The  fountain  flows 
and  hits  BUTLER  squarely  in  breast.  He  starts 
and  side  steps.) 

NORA.     How's  that? 
CORBIN.    Deadly  accurate. 
MABEL.    Stop  it,  Nora — stop  it. 

(The  fountain  stops.) 

BUTLER.  (Calmly,  but  with  disgust)  I  don't  be 
long  here,  sir — I  hope  you  can  see  that. 

COP  BIN.  I  noticed  that  you  were  a  little  out  of 
place. 

BUTLER.  I'm  just  temporary.  JAve  a  cocktail, 
sir? 

( CORBIN  takes  one.) 

NORA.     (Appearing)    There's  a  bug  in  k. 
CORBIN.    Oh — (Changes  the  cocktaS) 

(Exit  NORA.    BUTLER  passes  cockfott  to 


MRS.  LEFFINGWELL'S  BOOTS.        47 
MABEL.    Thank  you,  no. 

( BUTLER  goes  to  studio.) 

CORBIN.    (Offering  cocktail)     It's  very  mild. 

MABEL.    Thank  you. 

BUTLER.  (Seeing  no  one  in  studio)  'Ave  the 
others  come,  miss? 

MABEL.  There  will  be  only  two  others  and  the 
family,  I  believe. 

BUTLER.    Thank  you.     (Exit  to  pantry) 

CORBIN.  (Lighting  candles)  Here  are  cards — I 
think  Mrs.  Bonner  asked  you  to  arrange  them. 

MABEL.     Yes,  I'll  do  it. 

CORBIN.  (Follozring  MABEL  as  they  walk)  You 
spoke  of  trust  between  us.  The  absence  of  trust 
was  not — not  my  failure,  was  it  ? 

MABEL.    I  think  so — I  only  asked  for  the  facts. 

CORBIN.  Pardon  me,  my  dear  Mabel,  you — 
thought  you  asked  only  for  the  facts,  but  you  really 
asked  for  the  particulars.  The  fact  is  that  I  was 
entirely  innocent  of  any  wrong  doing.  Assured  of 
that  you  should  trust  me. 

MABEL.  Assured  of  that — (Pause)  I  would 
trust  you. 

CORBIN.    Oh — (Pause)     You  doubt  it? 

MABEL.  It  seems  to  me  that  innocence  would 
scarcely  have  so  much  to  conceal 

CORBIN.  (Pause)  Hardly  a  maxim — (Pause) 
still  a  column  in  most  of  the  sensational  papers 
strikes  me  as  very  indifferent  secrecy. 

MABEL.     None  of  them  had — (Pause) 

CORBIN.     (Pause)     Had  what? 

MABEL.    None  of  them  had  her  name. 

CORBIN.  I  see — (Pause)  Well  none  of  them 
should  have  had  it.  It  was  sufficient  that  their  vile 
implications  had  one  victim. 

MABEL.     (With  some  resentment)     Victim? 

CORBIN.    I  call  myself  that 


48        MRS.  LEFFINGWELL'S  BOOTS. 

MABEL.    Oh,  you. 

CORBIN.  Yes  I.  (Pause)  I've  suffered  by  it  in 
every  way — (Slowly)  mentally — sentimentally — and 
financially. 

MABEL.     Financially  ? 

CORBIN.  Yes,  financially.  (Changing  tone)  We 
turn  down  these  electrics  with  the  candles,  don't 
we? 

MABEL.    Yes. 

CORBIN.  (Turning  out  the  electric  lights  and 
leaving  only  candles)  Whenever  an  owner  dis 
cussing  my  plans  of  his  building  mentions  a  fire 
escape — I'm  so  disconcerted  that  I  seem  completely 
ignorant  and  thereby  lose  his  confidence,  and  some 
times  his  business — all  because  (Pause)  a  reprobate 
chose  to  make  me  look  guilty — by — in  the  manner 
that  he  did. 

MABEL.  (Pause)  They  were  at  your  window, 
weren't  they? 

CORBIN.  Yes,  but  they'd  been  stolen  from  the 
lady's  room  and  placed  there. 

MABEL.    Why  did  her  husband  behave  as  he  did  ? 

CORBIN.    Her  husband  was  misled. 

MABEL.    By  what? 

CORBIN.  By  the  man  who  tried  to  manufacture  a 
case  against  me. 

MABEL.    Why  should  any  man  try  to  do  that  ? 

CORBIN.  For  money--he  discovered  that  the  hus 
band  was  insanely  jealous  of  the  wife  and  he  fed 
upon  that  weaKness, — wnen  the  husband  demanded 
more  than  the  man's  mere  verbal  reports,  the  fellow 
had  to  create  his  own  conditions — manufacture  his 
evidence — lago  had  done  it  with  a  handkerchief  of 
Desdemona's.  This  fellow  chose  to  do  it  with — 
with  a  pair  of  boots. 

MABEL.  Why  did  this  lago  try  to  incite  the  hus 
band's  suspicious  against  you?  Why  were  you  his 
Cassiof 

For  money  I've  told  you. 


MRS.  LEFFINGWELL'S  BOOTS.        49 

MABEL.  Didn't  you  know  the — the  gentleman's 
wife? 

CORBIN.     Of  course  I  knew  her. 

MABEL.  The  newspapers  said  you  had  been 
noticeably  attentive  to  her. 

CORBIN.    That  I  deny. 

MABEL.    It  seems  some  one  noticed  it. 

CORBIN.    I  tell  you  he  exaggerated  it  to  get  money. 

MABEL.    But  you  kneiv  her. 

CORBIN.    Yes. 

MABEL.  Your  letters  to  me  at  the  very  time  com 
plained  of  your  loneliness.  You  said  you  were  going 
with  no  girls — that  you  wouldn't  even  have  been  in 
Bar  Harbor  except  for  business. 

CORBIN.  All  true — all  of  it.  I  was  attentive  to 
none.  This  lady  I  had  known  casually  many  years. 
Our  meeting  was  quite  accidental — quite. 

MABEL.    And  you  were  not  attentive  to  her? 

CORBIN.  I  was  not.  I  danced  with  her  once  at 
the  club  house — once  I  was  a  guest  on  a  yacht  where 
she  was  also  a  guest — two  afternoons  we  were  in  the 
same  sets  in  a  tennis  tournament — no  more. 

MABEL.    Who  was  she  ? 

CORBIN.    I  shan't — tell  you — for  many  reasons. 

MABEL.    What  are  they? 

CORBIN.  The  least  of  them  is  that  I  promised  her 
husband's  agents  I  would  tell  no  one. 

MABEL.    What  is  the  more  important  reason? 

CORBIN.  I  think  I  owe  that  much  to  the  lady  her 
self.  But  see,  my  dear  Mabel,  what  an  unworthy 
attitude  this  is  for  you — women  forgive  men  who 
are  really  guilty;  and  who  confess  it. 

MABEL.    But  you  don't  confess  it. 

CORBIN.    I  have  nothing  to  confess. 

MABEL.    But  you  have  something  you  could  tell. 

CORBIN.  Only  the  poor  lady's  name  and  what 
good  would  that  do  you? 

MABEL.  I'd  know  who  she  was  and  if  you  went 
back  to  her — that's  what 


50        MRS.  LEFFINGWELL'S  BOOTS. 

CORBIN.  (Rapidly)  And  would  you  care? 
That's  the  first  hopeful  thing  you've  said.  Well  I 
won't  go  back  to  her  if  you  call  it  that — 111  promise 
you  never  to  be  where  she  is — if  you'll  only  say 
you  believe  me.  If — if  we  can  only  be  the — the 
same  old  friends  we  were. 

MABEL.    Old  friends  ? 

CORBIN.  The  sweethearts.  (Embraces  her)  Ah ! 
You  do  love  me,  don't  you  ? 

MABEL.    Do  I  dare  to? 

CORBIN.  You  must — what  happiness!  /  hold 
you — you  in  my  arms  again. 

MABEL.    Didn't  you  know  I  was  here? 

CORBIN.  Truly  no — the  storm  drove  me  in — 
look  at  it.  (They  turn  to  the  window)  The  dear 
old  storm.  It  seems  to  laugh  with  us,  doesn't  it? 

MABEL.    Yes,  it  really  does. 

CORBIN.  The  worst  storm  since  Roscoe  Conklin 
died.  Can't  you  imagine  it  dancing  that — swirling 
snow. 

MABEL.  (Meaningly)  It  is  dancing.  Let's  call 
it  a  two  step. 

CORBIN.    (Turning  to  her)    You  angel 

MABEL.  (Standing  him  off)  Not  even  in  the 
same  town — will  you  ? 

CORBIN.    What  ? 

MABEL.    Where  she  is. 

CORBIN.    No — not  even  the  same  town. 

(They  embrace.) 

MABEL.     (Pause)    Does  she,  live  in  New  York? 

CORBIN.  Let's  leave  that  out.  You'll  be  wanting 
the  street,  and  number  after  that,  and  the  color  of 
her  hair. 

MABEL.    What  is  the  color  of  her  hair  ? 

CORBIN.  Oh — I  forget;  the  usual  color  I  think 
for  a  married  woman. 

MABEL.    You're  laughing  at  me  already. 


MRS.  LEFFINGWELL'S  BOOTS.        51 
CORBIN.    I'm  laughing  with  you. 
(Enter  NORA.) 

NORA.  Beg  pardon,  miss — Mrs.  Bonner's  not 
here  is  she? 

MABEL.    No. 

NORA.  (Going — pauses)  You  saw  it,  Miss 
Ainslee,  I'm  sure;  and  your  young  man  saw  it — 
when  I  turned  on  the  fountain — I  didn't  even  know 
Mr.  Orton  was  in  the  room,  did  I  ? 

MABEL.    Mr.  Orton? 

NORA.    The  butler. 

MABEL.    I  think  not — I  didn't. 

NORA.  He  says  I  took  aim  a  purpose  at  his  door, 
and  then  rung  for  him ;  and  that  he  won't  wait  on 
the  company  to-night  unless  Mrs.  Bonner  gives  him 
a  "dry  bosom."  (Exit) 

MABEL.    Does  what? 

CORBIN.  Gentlemen  of  Mr.  Orton's  profession 
sometimes  emulate  an  economy  practiced  at  modest 
funerals.  The  use  of  the  front  of  the  shirt  only. 

MABEL.     (Understanding)     Oh. 

CORBIN.  I  doubt  Mrs.  Bonner's  ability  to  replenish 
him. 

MABEL.  (With  cards  at  table)  That's  Mrs. 
Bonner's  place,  of  course.  Mr.  Newton  isn't  coming 
— Mr.  Reed  isn't — Mrs.  Lemngwell — where  shall  I 
put  Mrs.  Leffingwell? 

CORBIN.  (Startled)  Mrs.  Leffingwell — what 
Mrs.  Leffingwell  is  that? 

MABEL.  Mr.  Leffingwell  is  a  real  estate  man — 
Howard  Leffingwell  I  think  is  the  name.  ('Phone 
bell  rings)  Why? 

CORBIN.  (With  forced  composure)  Oh,  noth 
ing. 

MABEL.    Do  you  know  her  ? 

CORBIN.  I  can't  say  that  I  do.  There's  the  'phone, 
isn't  it? 


52        MRS.  LEFFINGWELL'S  BOOTS. 

MABEL.    (Going)    Yes 

CORBIN.    (In  ghastly  whisper)    The  Leffingwells ! 

MABEL.  (At  'phone)  Yes — Mrs.  Bonner's  house 
— who  is  it?  (Enter  MRS.  BONNER  followed  by 
NORA  up  R.)  Oh,  Mr.  Leffingwell — this  is  Miss 
Ainslee — Mrs.  Bonner  is  upstairs. 

CORBIN.  (In  undertone)  I  can't  dine  here,  Mrs. 
Bonner. 

MRS.  BONNER.    What? 

CORBIN.    Sh — (Indicates  MABEL) 

MABEL.  Oh,  yes,  she  is — wait  a  moment. 
(Speaks)  Mrs.  Bonner — he  wishes  to  speak  with 
you. 

MRS.  BONNER.  (Taking  f phone)  Who  is  it — 
(Pause)  oh — (Pause)  no — not  yet.  That  is,  I  think 
not  yet — one  minute.  (Speaks)  Mrs.  Leffingwell 
hasn't  come  ? 

MABEL.    No. 

MRS.  BONNER.  (At*  'phone)  No — not  yet 
(Pause)  Well  isn't  it?  perhaps  she  stopped  in  at 
some  neghbor's. 

(Enter  MOTHER  up  R.) 

MOTHER.    (In  excitement)    Eva !  where's  Eva ? 

MABEL.    At  the  'phone. 

MOTHER.  There's  a  carriage  at  the  gate  and 
somebody's  calling  from  the  roadway  inside — look 
here.  (Goes  to  glass  door  L.) 

MRS.  BONNER.  (Calls  into  'phone)  Wait  a 
minute.  There's  a  carriage  just  coming  on  our 
place. 

MOTHER.  No,  dear,  the  carriage  couldn't  get  up. 
Some  persons  are  walking. 

MRS.  LEFFINGWELL.  (Outside  in  the  snow) 
Hello— hello. 

CORBIN.    They're  calling — may  I  open  the  door? 

MRS.  BONNER.     Yes,  open  it.     ( CORBIN  opens 


MRS.  LEFFINGWELL'S  BOOTS.        53 

door.    There  is  effect  of  snow  and  wind)    Who  is 
it? 

MRS.  LEFFINGWELL.    (In  distant  tones)    Hello — 
hello. 

COACHMAN.    (With  MRS.  LEFFINGWELL)    Hello 
there. 

CORBIN.    (Answering)    Hello — hello. 
MRS.  BONNER.    Who  is  it? 
CORBIN.    The  wind's  against  us.    They  don't  hear. 
MRS.  BONNER.     I'll  make  them  hear.     ('Phone 
rings)     Please  answer  that,  Mabel.     (MABEL  goes 
to  'phone.    MRS.  BONNER  goes  to  pantry  door  and 
gets  a  megaphone) 

MOTHER.     (Peering  into  the  night)     Are  they 
coming  this  way  or  standing  there  ? 
MABEL.    (At 'phone)    Hello. 
MRS.  LEFFINGWELL.     (Off;  calls)    Where  is  the 
walk? 

MABEL.     (At  'phone  speaking  to  LEFFINGWELL) 
We  don't  know  yet.    They're  coming. 

MRS.  BONNER.    (Through  megaphone  at  the  porch 
door)    Who  is  it? 

MRS.  LEFFINGWELL.    (Off)    It's  I— Cora— where 
is  the  road  ? 

MRS.    BONNER.      (To    the    others)      It's    Mrs. 
Leffingwell. 

MRS.  LEFFINGWELL.    (Calling)    Won't  you  please 
come  help  us,  somebody? 

MRS.  BONNER.    (Fretted;  calls)    Yes — yes — Cora 
— (Speaks  to  those  near)  she  wants  help— dear  me 
— where's  my  coachman  ?    Where's  the  butler  ? 
NORA.    Yes,  ma'am.     (Exit  to  find  BUTLER) 
MRS.  BONNER.     Mr.  Corbin — but  you  can't,  can 
you?     (Referring  to  his  clothes) 

CORBIN.    I  can  in  a  minute.    (Exit  R.) 
MRS.  BONNER.     (Through  the  megaphone)     Just 
a  minute,  Cora — we're  coming,  stay  where  you  are. 
MOTHER.     (Quietly)    I  guess  they'll  do  that. 


54        MRS.  LEFFINGWELL'S  BOOTS. 
(Enter  BUTLER.) 

MRS.  BONNER.  Orton — there's  a  lady  there  in  the 
snow  drift — can't  you  help  her? 

(Enter  NORA.) 

BUTLER.  (In  superior  leisure)  I  wouldn't  dare, 
ma'am — the  waitress  turned  that  hose  on  me — and 
she  froze  both  ears  going  to  the  stable  herself. 

MRS.  LEFFINGWELL.  (Off)  Please  come,  some 
body. 

(Exit  NORA  to  rescue  into  the  snow.) 

MRS.  BONNER.    Oh,  Nora,  you  can't  do  that. 
BUTLER.     (With  finality)    Oh,  yes,  ma'am,  she's 
Jad  three  cocktails. 

('Phone  rings.    Exit  BUTLER  to  the  pantry.) 

MRS.  BONNER.  (Gesticulating  toward  the  'phone) 
Tell  him  "  yes  "  it's  Mrs.  Leffingwell. 

(MABEL  again  to  'phone.  Enter  CORBIN  wearing 
the  rubber  bootsf  and  over  his  dress  coat  a 
reefer. ) 

CORBIN.    Let's  have  all  the  light. 

(MOTHER  turns  on  electrics.    CORBIN  plunges  into 
the  drift.) 

MABEL.  (At  f phone)  Yes — Mr.  Leffingwell — 
it's  your  wife. 

MRS.  BONNER.  (With  megaphone)  Nevermind, 
Nora — don't  try  it. 

MABEL.    (From  the  'phone)    Eva— Eva  dear. 


MRS.  LEFFINGWELL'S  BOOTS.         55 

MRS.  BONNER.  (Megaphoning)  The  path  is  to 
the  left,  Walter.  That's  the  children's  fish  pond. 

MABEL.  (Ansivering  'phone  to  the  impatient  hus 
band)  She  hasn't  come  in  yet. 

MRS.  BONNER.  (Calling)  More  to  the  left — 
more  yet. 

MABEL.  There's  a  snow  drift  that's  all — yes 
she's  here — Eva — Eva — he  wants  you. 

MRS.  BONNER.     (Excitedly)    What  is  it? 

MABEL.    He  asks  what's  the  matter. 

MRS.  BONNER.  (Megaphoning  at  telephone) 
There's  nothing  the  matter — they  can't  find  the  path, 
that's  all. 

MOTHER.  (MRS.  BONNER  turns  back  to  door) 
He's  there  now. 

MABEL.  (At  'phone  to  LEFFINGWELL)  That  was 
Mrs.  Bonner 

NORA.    (Off)    Come  this  way — them's  bushes. 

MABEL.  (Explaining)  No!  She  had  a  mega 
phone. 

MRS.  BONNER.  (In  bromide  repetition.  To 
MOTHER)  The  worst  since  Roscoe  Conklin  died 
they  say. 

MABEL.  Oh — really  ? — Mrs.  Bonner'll  be  awfully 
disappointed  I'm  sure  but  if  you  can't — you  can't. 

MOTHER.  (Referring  to  outsiders)  How  many 
are  there? 

MABEL.  (Explaining)  They  left  the  wagon  at 
the  gate. 

MRS.  BONNER.  (Calls)  Nora — Nora — get  up 
child,  don't  lie  there. 

MABEL.    The  coachman,  I  think. 

MOTHER.  No  business  out  there,  anyway,  with 
those  ears. 

DOCTOR.  (Entering  up  R.  Sings)  Oh,  that  we 
two  were  Maying,  etc.  (He  is  in  dress  suit) 

MOTHER.     (Rebukingly)     Henry! 

DOCTOR.  (With  a  shiver)  Where's  that  draught 
come  from? 


56        MRS.  LEFFINGWELL'S  BOOTS. 

MABEL.    (Calling)    They're  here  now. 

DOCTOR.  (Turning  to  MABEL)  What's  that — 
(Turns  to  MRS.  BONNER)  What  are  you  doing, 
Eva — shut  the  door. 

MRS.  BONNER.  (Opening  door  wide)  Why,  you 
poor  thing. 

MRS.  LEFFINGWELL.  (Off  and  panting)  Oh, 
isn't  it  awful — Eva,  \'m  frozen. 

COACHMAN.     (Cautioning)     Hold  tight,  ma'am. 

DOCTOR.    Who  is  it  ? 

MRS.  BONNER.  Don't  slip,  there  are  three  steps — 
four  counting  the  porch. 

CORBIN.  (In  command)  Your  side — your  side 
first,  my  man. 

MRS.  LEFFINGWELL.    The  other  way,  Tim. 

COACHMAN.    Yes,  ma'am. 

DOCTOR.    Who's  with  her? 

(Fuss  and  fume  by  CORBIN  and  COACHMAN.) 

MABEL.  (Calling  into  ' phone)  In  the  doorway 
now. 

DOCTOR.    (To  MABEL)    What's  that? 

MRS.  LEFFINGWELL.  (Being  put  into  door)  Oh, 
Eva — my  feet — my  stockings 

MRS.  BONNER.    You  poor  thing. 

MRS.  LEFFINGWELL.  Tim  may  come  in  and  warm 
himself  ? 

MRS.  BONNER.    Of  course,  come  in,  Tim. 

(The  faces  of  MRS.  LEFFINGWELL,  CORBIN  and  TIM 
are  purple  red  with  cold.  TIM'S  nose  is  white. 
MABEL  drops  'phone  and  comes  to  ladies.) 

MRS.  LEFFINGWELL.  Oh,  what  a  night.  Two 
hours  in  that  wagon,  Eva. 

MRS.  BONNER.  This  way,  dear — (TJiey  cross  to 
the  mantel) 


MRS.  LEFFINGWELL'S  BOOTS.         57 

DOCTOR.  Not  by  the  fire — (To  TIM) — your  nose 
is  bitten. 

CORBIN.    Yes.     (Exit  again  to  the  snow) 

MRS.  LEFFINGWELL.  I  stood  up  in  one  drift — It 
went  into  my  corset ;  both  ways. 

DOCTOR.    Rub  it  with  snow. 

(MRS.   LEFFINGWELL  looks  startled.     CORBIN  re 
turns  and  rubs  TIM'S  nose  with  snow.) 

TIM.  Phwat  are  you  doin'? — It's  a  damned  poor 
time  for  joking  who  ever  ye  are. 

(Enter  BUTLER  ivith  cocktails.) 

DOCTOR.  It'll  turn  black  and  crack  open  if  you 
don't — here,  Mrs.  Leffingwell — keep  away  from  the 
fire  and  take  this. 

MRS.  LEFFIXGWELL.    What  is  it? 

DOCTOR.    Drink  it. 

(MRS.  LEFFINGWELL  takes  cocktail.    'Phone  rings 
vigorously  and  continues.) 

TIM.    Is  them  whiskey  ? 
CORBIN.    Yes,  have  one.    (Passes  it) 
TIM.    Thank  you.     (Takes  a  cocktail) 
MRS.  BONNER.     (Annoyed  at  'phone)    Yes — yes 
—yes. 

(MABEL  goes  to  'phone.) 

TIM.  (After  a  drink)  Your  man'll  help  me, 
Mrs.  Bonner  ?  The  wagon's  broke  down  at  the  gate. 

('Phone  stops.) 
MRS.  BONNER.    Certainly. 


58        MRS.  LEFFINGWELL'S  BOOTS. 
(Exit  TIM  by  pantry  to  L.) 

MABEL.     (At  'phone)     Yes — who  is  it? 

MOTHER.  (Kneeling  by  MRS.  LEFFINGWELL)  I 
must  take  your  boots  off,  my  dear — Henry!  get  a 
pair  of  my  slippers. 

(Exit  DOCTOR  up  R.) 

MRS.  LEFFINGWELL.  (In  alarm  over  CORBIN) 
No,  really — I  can't  stay. 

MRS.  BONNER.    Can't  stay — what  do  you  mean  ? 

CORBIN.  I  must  say  good-night  myself,  Mrs. 
Bonner. 

MRS.  BONNER.  But,  why  ?  Oh,  excuse  me — Mrs. 
Leffingwell — may  I  present  Mr.  Corbin.  ('Phone 
rings) 

MRS.  LEFFINGWELL.    How  are  you  ? 

MABEL.  Mrs.  Leffingwell — your  husband  wants 
to  speak  to  you. 

MRS.  LEFFINGWELL.    Where  is  he? 

MABEL.     At  home — he's  telephoning. 

MRS.  LEFFINGWELL.  Just  a  minute,  Mrs.  Rumsey. 
(Goes  to  'phone) 

MRS.   BONNER.     What  do  you  mean,  Walter? 

(They  talk  earnestly  in  dumb  show.) 

MRS.  LEFFINGWELL.  (At  'phone)  Yes — 
Howard!  and  I'm  coming  right  home.  (Her  tone 
is  tearful) 

MRS.  BONNER.  (Turning  to  MRS.  LEFFINGWELL) 
Dear  me — is  everybody  crazy  ? 

MRS.  LEFFINGWELL.  I  can't — then  what  must  / 
do? 

DOCTOR.  (To  MOTHER)  Who  is  it?  (She  hushes 
him) 

MRS.  LEFFINGWELL.  (At  'phone)  And  you  can't 
come  at  all — oh — oh. 


MRS.  LEFFINGWELL'S  BOOTS.        59 

MRS.  BONNER.  (Disappointed)  Oh — Mr.  Lef- 
fingwell  can't  come. 

MRS.  LEFFINGWELL.  (Speaks)  He  says  I 
couldn't  get  home — (Turns  to  'phone  again) 

MRS.  BONNER.  (To  CORBIN)  And  where  could 
you  go? 

MABEL.    (Overhearing)    Go?    Walter? 

MRS.  BONNER.  Yes!  New  York  can  wait.  (Taps 
him  play  f  idly  ) 

MRS.  LEFFINGWELL.  (In  alarm)  Put  them  both 
to  bed,  won't  you,  dear,  and  call  me  for  the  slightest 
thing.  Good-bye,  dear.  (Turns,  and  sits  crying 
hysterically,  but  not  violently) 

MRS.  BONNER.  Why,  Cora — is  anything  the  mat 
ter? 

( CORBIN  goes  moodily  to  fireplace.    Enter  DOCTOR 
with  slippers.) 

MRS.  LEFFINGWELL.  Oh,  no — it's  just  the — the 
excitement  of  the  whole  thing — the  fright  I  suppose 
and  the — oh,  dear,  what's  that? 

(Enter  NORA,  door  L.,  returned  from  her  plunge  out 
doors.) 

NORA.    Oh 

MRS.  BONNER.    Why,  Nora. 

(NORA  stands  panting  a  moment  leaning  "on  jamb.) 

DOCTOR.    Where  has  she  been  promenading  again  ? 
MRS.   LEFFINGWELL.     It's  your  maid,   isn't  it? 
Thank  you,  Mrs.  Rumsey. 

(MOTHER  has  changed  MRS.  LEFFINGWELL'S  boots.) 

MRS.  BONNER.  I  thought  you  went  in  the  kitchen 
way 


60        MRS.  LEFFINGWELL'S  BOOTS. 

MRS.  LEFFINGWELL.  (Referring  to  her  own 
clothes)  They're  all  wet,  I  fear. 

MOTHER.  (Fussing  with  MRS.  LEFFINGWELL'S 
underwear)  You  must  change  some  of  these  things, 
Eva. 

MRS.  BONNER.  (To  MRS.  LEFFINGWELL)  Yes, 
come  with  me — we'll  be  right  down.  (To  BUTLER) 
Orton — serve  the  cocktails 

BUTLER.  Yes,  ma'am.  (Starts  out  with  tray  on 
which  two  are  left) 

MRS.  BONNER.  (Dismissing  NORA)  Nora — 
you'd  better  let  Orton  wait  on  us;  at  once.  (Exit 
with  MRS.  LEFFINGWELL  up  R.) 

NORA.  Yes,  ma'am — (Taking  cocktail  as  BUTLER 
passes)  Thank  you. 

BUTLER.  (In  disgust  to  CORBIN)  Just  temporary, 
sir — I  wouldn't  stay  if  I  could  get  away.  (Indicates 
storm  and  shirt  front,  then  spitefully  to  NORA) 
You  know  bally  well  there  zvasn't  a  bug  in  it. 

NORA.  There  was  and  1*11  show  you.  (Dives 
under  table) 

MOTHER.  (Hastening  after  the  ladies)  Henry! 
(The  DOCTOR,  interested  in  NORA,  doesn't  hear) 
Mr.  Corbin — won't  you  do  something  with  these. 

CORBIN.  (Taking  two  quilted  silk  carriage  boots 
from  her)  What  are  they  ? 

MOTHER.    Mrs.  Leffingwell's  boots. 

(The  fountain  starts  crookedly  and  swings  like  a 
panoramic  camera.) 

CORBTN.  Stop  it — stop  it.  (He  covers  the  nozzle 
with  one  of  the  boots  as  the  DOCTOR  and  NORA  strive 
under  the  table — MABEL  looks  on) 

CURTAIN. 


MRS.  LEFFINGWELL'S  BOOTS.        61 

ACT  II. 

SCENE  :— The  Studio  by  night. 

The  room  is  twenty  feet  high — Walls  are 
panelled  in  gray  wood  ten  feet  high  zvith  gray 
plaster  above.  The  ceiling  is  oak  beams.  Half 
way  up  the  height  on  the  left  is  a  gallery  raking 
up  and  down  stage,  and  communicating  'to  sleep 
ing  rooms  by  two  doors  and  a  window  between 
the  doors.  The  gallery  is  reached  from  the 
stage  by  steps  in  tivo  'fights  at  L.  u.  corner. 
Under  the  gallery  is  a  small  door  in  3 — letting 
to  main  entrance  hall  of  the  house.  Below  this 
door  on  the  stage  is  the  arch  giving  to  dining 
room — This  door  slides — Below  this  arch  is  the 
telephone  used  so  often  in  ACT  I.  The  back  wall 
is  glassed  in  three  large  lights  of  the  usual  par 
allel  panes  of  studio  windows.  The  middle  light 
extends  from  ceiling  to  within  six  feet  of  stage 
and  has  a  width  from  the  stairway  L. — to  an 
equal  distance  from  the  right  wall.  The  side 
lights  fill  the  remaining  space  of  the  back  wall 
but  extends  down  only  to  the  gallery  level. 
Below  the  lights  the  wall  is  panelled.  In  the 
right  side  of  back  wall  in  the  paneling  is  a  door 
to  exterior.  The  right  wall  has  a  door  in  one 
letting  to  DR.  RUMSEY'S  bed  chamber.  Another 
in  3  letting  to  a  bath  room.  Between  these 
doors  is  a  massive  chimney  breast  of  red  brick 
going  from  floor  to  ceiling.  The  massive 
mantel  on  oak  beams  is  sir  feet  from  floor — 
it  is  hung  underneath  with  mugs  of  copper — An 
ordinary  man  may  stand  beneath  it.  The  fire 
place  is  in  proportion  and  is  fitted  with  high 
black  iron  trimmings.  Over  the  mantel  is  a 


6*        MRS.  LEFFINGWELL'S  BOOTS. 

painting  of  a  castle.  Over  the  doors  are  can 
vasses  of  various  sizes  unframed  showing 
animal  studies.  Similar  sketches  are  on  the 
gallery  wall  and  in  the  wall  spaces  R.  and  L. 
back  A  window  seat  runs  from  the  stairway 
back  almost  over  to  the  exterior  door.  The 
seat  is  cushioned  on  top  but  filled  with  canvas 
stretchers  underneath — A  baby  grand  piano  is 
in  front  of  the  seat,  c.  A  nest  of  tea  tables  is 
below  the  piano.  A  couch  of  the  bed  variety 
is  in  front  of  fireplace  made  up  with  bedding 
and  pillows — A  draped  model  stand  with 
drawers  and  compartments  is  center.  A  big 
easel  is  up  R.  c.  A  draped  manikin  is  between 
the  doors  left.  The  glass  at  back  is  fitted  with 
curtains  rolling  into  spring  rollers  at  bottom. 
These  curtains  are  not  practicable  but  stand 
at  one  position  thro'  the  act.  The  backing  is 
tree  tops  covered  with  snow  and  ice  and  ar 
ranged  to  sparkle  in  moonlight,  later.  The  studio 
is  lighted  by  a  fire;  and  by  lamps  on  piano  and 
suspended  from  gallery,  all  fitted  with  electric 
lamps.  Candles  in  candelabra  are  on  mantel. 
At  rise  of  curtain  the  stage  is  lighted  by  the 
fire  only.  The  DOCTOR  in  pajamas  and  a  bath 
robe,  is  above  the  fire  in  a  big  chair.  He  feeds 
the  fire  bits  of  wood  which  throw  off 
spectrumized  lights. 

DOCTOR.    Mr.  Corbin — Mr.  Corbin! 

CORBIN.  (From  door  3  R.)  Yes.  (Appears. 
CORBIN  is  also  in  pajamas.  He  carries  a  glass  and 
a  tooth  brush) 

DOCTOR.    See  this  one. 

CORBIN.  (Regarding  green  light  from  fire) 
That's  a  beauty. 

DOCTOR.  That's  a  pure  sulphate  of  copper.  (It 
burns  to  red)  See  it  change. 


MRS.  LEFFINGWELL'S  BOOTS.        63 

CORBIN.  Stunning.  Be  with  you  in  just  a  minute. 
(Exit  3  R.) 

(Pause  during  which  DOCTOR  again  feeds  flames. 
Enter  MOTHER  in  3  L.  She  is  in  dressing  gown 
and  slippers  and  carries  a  bear  skin  carriage 
robe.) 

MOTHER.  Henry!  (Pause)  You  alone — 
(Crosses)  Henry! 

DOCTOR.  (Seeing  MOTHER)  Hello !  (Meets  her 
c.) 

MOTHER.  Here's  the  carriage  robe.  This  room 
gets  pretty  cold  at  night. 

DOCTOR.    ( With  hand  to  ear)    What  ? 

MOTHER.  The  thermometer  outside  Eva's  window 
says  six  below — Eva  thinks  Mr.  Corbin  may  also 
need  this  carriage  robe. 

DOCTOR.  All  right.  I'll  give  it  to  him.  Where 
are  you  sleeping? 

MOTHER.  Sh — I'm  with  Willie — (She  closes 
dining  room  door  down  L.) 

DOCTOR.    What's  that  for? 

MOTHER.    Nora  is  there. 

DOCTOR.    Who  is  ? 

MOTHER.    Nora. 

DOCTOR.    I  thought  the  butler  was  to  sleep  there. 

MOTHER.  (Shakes  head)  Eva  changed  her 
mind — she  didn't  like  the  idea  of  a  strange  wan 
sleeping  in  the  dining  room,  so  she  gave  the  butler 
Nora's  room  and  put  Nora  there.  Tell  Mr.  Corbin. 

DOCTOR.    You  think  that'll  interest  Mr.  Corbin? 

MOTHER.  Sh — He  might  take  a  notion  to  go  in 
there. 

DOCTOR.  (Pretending  to  be  shocked)  Why 
mother ! 

MOTHER.  (Annoyed)  I  mean  if  he  thought  the 
butler  was  there — for  a  drink  or  something. 


64        MRS.  LEFFINGWELL'S  BOOTS. 
(Enter  CORBIN.) 

CORBIN.  (Seeing  a  lady  in  the  half  light)  Oh — • 
I  beg  pardon. 

DOCTOR.    Don't  go.    It's  only  mother. 

CORBIN.    I  thought  the  ladies  had  retired. 

MOTHER.  Mrs.  Bonner  forgot  one  or  two  things. 
She  thinks  it  possible  that  Mr.  Bonner  may  still 
come  in. 

CORBIN.    Yes. 

MOTHER.  So  we've  put  the  chain  on  the  front 
door.  He'll  have  to  ring. 

CORBIN.    Very  well,  I'll  answer  it,  if  he  does. 

MOTHER.    No  need.    Nora's  in  the  dining  room. 

CORBIN.  (Snuffing)  I  notice;  that's  a  very 
powerful  liniment  of  the  Doctor's. 

MOTHER.  (Assenting)  Nora'll  answer  the  bell — 
but  she's  dreadfully  stupid  when  she's  first  waked 
up,  and  Mrs.  Bonner  says  will  you  be  good  enough 
to  say  to  Tom  that  he's  to  come  to  the  nursery  be 
cause  Mrs.  Leffingwell  has  his  room.  (Points  up  to 
the  gallery) 

CORBIN.    Yes,  I'll  tell  him. 

MOTHER.  (To  DOCTOR)  Nora  hasn't  gone  to 
sleep  yet  so  if  there's  anything  you  men  want  from 
the  buffet.  Tobacco — or — or — anything. 

DOCTOR.    Well  now  that  you  suggest — I 

MOTHER.    Well  ? 

DOCTOR.  She  might  fetch  us  the  decanter  and  a 
syphon  or  two  eh?  (To  CORBIN) 

CORBIN.    You're  the  Doctor. 

MOTHER.  (Going)  Yes — He's  the  Doctor;  and 
when  he  has  to  take  his  own  medicine  I'm  pretty 
familiar  with  his  prescription.  (Exit) 

DOCTOR.  What  do  they  call  it  ?  A  "  Dock  a»d 
Doris." 

CORBIN.  (Smiling)  Yes,  a  "  Dock  and  Doris." 
(Indicating  door  R.  and  changing  topic)  Comes  in 


MRS.  LEFFINGWELL'S  BOOTS.        65 

very  handy — on  a  crowded  occasion  like  this — that 
little  room  we  put  on  for  Tom's  models. 

DOCTOR.    Oh  I  always  sleep  there. 

CORBIN.    You  do? 

DOCTOR.  (Nods)  Ever  since  Tom  gave  up  the 
models  and  went  in  for  cattle. 

CORBIN.    (Inquiringly)    And  Mrs.  Rumsey. 

DOCTOR.  No  Mrs.  Rumsey's  in  the  main  build 
ing;  I'm  too  musical.  You  know  Mrs.  Mumford's 
couplet  ?  "  Smile  and  the  world  smiles  with  you, 
Snore  and  you  sleep  alone." 

(Enter  MOTHER;  she  carries  a  parcel  in  her  left 
hand.) 

CORBIN.    Oh  that's  it 

(DOCTOR  nods.) 

MOTHER.  Here,  Henry.  (Gets  megaphone  from 
the  wall)  If  you  men  are  going  to  talk  longer  I'll 
ask  Mr.  Corbin  to  use  this.  Mrs.  Leffingwell  and 
Miss  Ainslie  have  only  those  thin  doors  between 
them  and  you. 

DOCTOR.  What's  that?  (Indicates  her  other 
hand) 

MOTHER.  (Displaying  them)  Mrs.  Leffingwell's 
boots.  There's  more  fire  here  than  there  is  in  the 
dining  room  and  they're  still  wet.  (Puts  the  boots 
on  the  round  caps  of  the  big  fire  irons) 

(Enter  NORA  with  wiskey,  syphon,  glasses  and  ice  on 
a  tray.) 

DOCTOR.    Put  it  here,  Nora.    ( Takes  a  table  from 
the  nest.    NORA  puts  outfit  on  table) 
MOTHER.    Good  night,  Mr.  Corbin.    (Gives  hand) 
CORBIN.    Good  night,  Mrs.  Rumsey. 


66        MRS.  LEFFINGWELL'S  BOOTS. 
(Exit  NORA  to  the  dining  room.) 

MOTHER.  (Indicates  the  DOCTOR)  Don't  let  him 
keep  you  up. 

(NORA  closes  her  door.) 

CORBIN.  Which  means  don't  keep  him  up;  I 
understand. 

MOTHER.  (Laughing)  Well,  either  way.  (Exit 
3  L. — under  the  gallery) 

DOCTOR.  (Genial  as  things  settle  down  to  stag 
conditions)  Walter,  my  boy — you  don't  mind  my 
calling  you  Walter? 

CORBIN.    (Returning  to  table)    I  wish  you  would. 

DOCTOR.  (At  decanter)  You  noticed  me  stick 
to  this  stuff  at  dinner  and  refuse  champagne  ? 

CORBIN.    Yes,  I  did. 

DOCTOR.  Champagne  makes  me  nervous.  Say 
when.  (Pours) 

CORBIN.  There,  thank  you!  (Then  quickly 
through  megaphone)  "  When  !  " 

DOCTOR.  (Taking  a  high  ball  for  himself)  Let's 
sit  down. 

CORBIN.    Yes  indeed. 

DOCTOR.    Eh  ? 

CORBIN.  (With  megaphone)  Of  course — not  a 
bit  sleepy. 

DOCTOR.  (Settled  in  his  chair)  Great  thing  those 
megaphones.  See  in  the  papers  that  some  fellow  in 
Virginia's  preaching  through  one  of  them. 

CORBIN.  Yes,  I  read  that.  (Sits  on  the  couch 
bed) 

DOCTOR.  (In  leisurely  gossip)  Simply  an  appli 
cation  of  the  old  fireman's  trumpet. 

CORBIN.     (Easily)     Same  idea. 

DOCTOR.  And  the  fireman's  trumpet  came  from 
the  huntsman's  bugle  and  I  suppose  the  huntsman's 
bugle  was  discovered  by  some  idle  boy  blowing 


MRS.  LEFFINGWELL'S  BOOTS.        67 

through  a  ram's  horn,  way  back  in  the  tribal  times. 
(Pause)  That  spectrumized  wood — by  jove,  isn't 
that  a  pretty  flame.  (As  a  bit  of  red  light  shows) 

CORBIN.    Like  a  topaz  and'emerald  blended. 

DOCTOR.  A  chemist  makes  that  nowaday 's  ;  but  it 
was  discovered  by  the  fishermen  that  used  to  burn 
the  drift  wood  of  old  boats,  that  had  been  covered 
with  copper.  (Pause)  Whiskey  !  (Holds  up  glass 
affectionately)  I'll  wager  that  the  first  distillation 
of  whiskey  came  from  some  neglected,  and  acciden 
tally  fermented,  grain  that  the  owner  thought  was 
a  total  loss. 

CORBIN.    Quite  likely. 

DOCTOR.  Undoubtedly!  That  horse  hair  lariat 
hanging  there — every  plainsman  has  one  to  lay 
around  him  when  he  sleeps — somebody  discovered 
by  accident,  that  a  snake  won't  cross  a  rope  made  of 
horse  hair.  I'm  seventy  two  and  I've  really  come  to 
a  state  where  I  expect  very  little  from  elaborate 
preparation  and  am  rather  disappointed  .if  the  cas 
ual  accident  hasn't  the  kernel  of  a  real  benefit  in 
it.  Now  this — (Looks  about)  You  and  I — the 
fire — all  the  small  talk  tucked  into  bed — you  can't 
beat  this. 

CORBIN.  (In  the  "  Camping  out "  mood)  I  don't 
know  where  you  can  beat  it. 

DOCTOR.  (Smiles)  Accident!  The  plan,  the 
plan  was  to  tuck  me  in  bed — and  to  have  Mr.  Klar- 
gess  in  your  place. 

CORBIN.    I  know. 

DOCTOR.    My  profession — an  accident. 

CORBIN.  You  mean  your  being  a  doctor  was  ac 
cidental. 

DOCTOR.  No  I  was  a  physician  and  surgeon  by 
intention ;  but  my  going  over  to  Osteopathy.  Ever 
tell  you  the  story  ? 

CORBIN.    Never. 

DOCTOR.  I  used  to  have  in  my  stable  a  little  black 
mare — a  regular  pet.  Drove  her  on  my  morning 


68        MRS.  LEFFINGWELL'S  BOOTS. 

round — always  finished  by  giving  her  a  lump  of 
sugar — One  morning  I  went  to  buckle  a  fly  net 
that  had  come  loose  at  her  breast ;  she  expected  the 
sugar — she  had  on  blinders — and  she  turned  her  head 
suddenly  and  struck  me  right  there.  (Indicates  left 
ear.  Pause)  I  couldn't  hear  a  sound  for  three 
years;  and  yet  all  the  time  I  heard  a  roaring  like 
Niagara.  Did  every  thing — medicine — blisters — 
knife — no  use — got  a  little  funny  up  here  too.  (  Taps 
head) 

CORBIN.    You  mean  mentally  ? 

DOCTOR.  Yes — they  were  taking  me  to  California ; 
some  sanitarium — a  bridge  washed  out  on  the 
old  North  Missouri  railroad  near  a  town  called 
Kirksville.  Had  to  lay  over  there  one  day.  I  never 
knew  such  heat — hundred  and  ten  in  the  shade. 

CORBIN.  Whew!  I  wouldn't  have  gone  in  the 
shade. 

DOCTOR.  Commenced  to  get  violent.  Mrs.  Rum- 
sey  was  with  me,  and  in  her  alarm  she  called  in  a 
doctor  there,  a  long,  slab  sided  fellow,  in  a  linen 
duster.  Two  men  were  holding  me  by  this  time — 
the  doctor  felt  round  my  skull,  and  neck  a  minute  or 
two,  then  suddenly  gave  my  head  a  wrench,  and  a 
crack,  and  I  was  a  well  man,  like  that.  (Snaps 
finger) 

CORBIN.    What  was  it  ? 

DOCTOR.  Slight  displacement  of  one  of  the  ver- 
tabrae  impinging  on  a  nerve.  Pressure  gone,  the 
trouble  was  gone. 

CORBIN.    But  you're  still  hard  of  hearing  ? 

DOCTOR.  Only  been  so  the  last  four  years — I 
practiced  medicine  thirty  years  after  that  accident — 
but  to  finish  my  story,  that  same  doctor  later  devel 
oped  a  new  system  of  therapeutics,  based  on  the 
theory  that  the  bone  structure  of  the  human  frame 
is  the  base  of  the  health,  or  ill  health.  He  opened 
a  college,  and  I  went  to  it.  That  accident  to  me,  by 
my  little  black  mare,  made  me  an  Osteopathist. 


MRS.  LEFFINGWELL'S  BOOTS.        69 

CORBIN.  You  say  you  were  mentally  deranged  by 
the  accident? 

DOCTOR.  For  a  time — (Pause)  perhaps  you  think 
permanently. 

CORBIN.  Oh,  no — but  tell  me — this  wasn't  the 
skull  pressing  on  the  brain. 

DOCTOR.  No — one  of  the  cervical  vertebrae  press 
ing  on  a  nerve. 

CORBIN.    (Thoughtfully)    M'm. 

DOCTOR.  Why,  my  boy,  I've  seen  chronic  indiges 
tion — dyspepsia,  caused  by  a  slight  irregularity  of 
one  dorsal  bone.  And  I've  cured  it  by  a  snap  of  my 
thumb — a  quick  push  of  that  particular  vertebra 
into  line. 

CORBIN.  By  jove — (Pause)  And  a  mental  de 
rangement  corrected  the  same  way? 

DOCTOR.    Mine  was. 

CORBIN.  (With  increased  interest)  What  was 
it  he  did  to  you  ? 

DOCTOR.  I'll  show  you.  (Takes  CORBIN'S  head 
in  hands) 

CORBIN.  No  thank  you — the  thing  may  work 
conversely. 

DOCTOR.  Well  here  we  are.  (Takes  manikin  from 
wall  L.  and  brings  it  to  couch)  Here's  Tom's 
manikin.  This  neck  is  articulated  almost  perfectly. 
He  put  me  on  the  sleeping  car  bunk — so.  (Puts 
manikin  on  couch  in  the  fire  light  onl\)  Then  he 
moved  my  head — I  learned  all  this  afterwards 

CORBIN.     Naturally 

DOCTOR.  He  moved  my  head  to  the  limit  one 
way — (To  manikin)  Pardon  me,  madam,  no 
violence  intended — (Demonstrates  to  CORBIN)  then 
a  slight  pull  and  a  jerk  oppositely — so;  and  the 
thing  was  done. 

CORBIN.  Interesting!  (To  manikin)  Feel  bet 
ter!  (In  alarm  to  DOCTOR)  W7hy  she  can't  speak. 

DOCTOR.  (Stands  under  the  mantel)  Still  the 
operation  was  successful.  Why,  my  boy,  do  you 


70        MRS.  LEFFINGWELL'S  BOOTS. 

know  why  the  Japanese  soldiers  outmarch  the 
world  ? 

CORBIN.    Rice  ? 

DOCTOR.  Rice — no — Osteopathy.  A  man  tires 
because  his  muscle  wearies — that  muscle  wearies 
because  its  particular  vitalizing  nerve  is  benumbed 
— that  particular  nerve  is  benumbed  at  its  root,  not  at 
the  terminus;  and  the  root  of  the  nerve  is  in  the 
spine.  Mister  tired  Jap  lies  down  on  his  back,  so. 
(Again  demonstrates  with  manikin)  A  comrade 
takes  his  head  and  pulls  it  this  way — his  weight 
against  it  slowly,  until  the  operator  feels  all  the  ver- 
tabrae  slip  under  the  pull  like  a  string  of  beads,  one 
by  one.  The  pressure  off  the  cartilage  cushions  in 
between — new  blood  rushes  in — the  nerves  take  new 
force — new  life ;  and  your  Jap  resumes  and  out 
marches  your  Caucasian,  by  ten  or  twelve  miles. 

CORBIN.  Well,  why  don't  we  Americans  do  that 
for  one  another? 

DOCTOR.  Too  busy  pulling  the  other  extremity. 
(Lifts  the  manikin's  leg) 

(The  telephone  rings.) 

CORBIN.    There's  the  bell. 

DOCTOR.    Door  bell  ? 

CORBIN.    Telephone  I  think. 

DOCTOR.  (Shaking  head  and  indicating  his  ears) 
I  can't  answer  it.  (  CORBIN  goes  to  'phone.  Filling 
drink)  If  it's  Tom,  tell  him  to  come  home,  and  all 
will  be  forgiven. 

CORBIN.  (At  'phone)  Mr.  Bonner's  house,  yes. 
(Pause)  No,  I'm  not  Mr.  Bonner.  Do  you  wish 
to  speak  to  Mr.  Bonner  personally.  (Pause)  Who 
am  If  (Pause)  Oh,  I'm  a  guest  of  Mr.  Bonner's 
— a  guest.  (Pause)  Not  at  all  sir — not  a  bit 
ashamed  of  it — my  name  is  Corbin — Walter  Cor- 
bin  of — (Pause.  Change  of  tone)  Oh — Oh  Mr. 
Leffiingwell — yes  I  believe  she  is — but — she's  re- 


MRS.  LEFFINGWELL'S  BOOTS.         71 

— very  well  I'll  call  her.  Beg  pardon !  (Pause) 
I  meant  that  sir — I'll  have  the  maid  call  her — 
(Pause)  not  at  all — no,  sir.  (Raps  on  dining  room 
door)  Nora — Nora!  (Opens  door,  speaks  into 
dining  room)  Nora,  will  you  go  up  to  Mrs.  Leffing- 
well's  door ;  and  say  her  husband's  at  the  telephone. 

NORA.     (Off)     Mrs.  Leffingwell  sir? 

CORBIN.    Yes,  Mrs.  Leffingwell. 

MRS.  LEFFINGWELL.  (Appearing  on  gallery  from 
down  stage  door)  Is  somebody  calling  me? 

CORBIN.  (Backing  from  under  gallery  and  look 
ing  up)  Oh — that  you  Mrs.  Leffingwell? 

MRS.  LEFFINGWELL.  (Leaning  over  rail)  Yes — 
what  is  it? 

CORBIN.  Mr.  Leffingwell,  at  the  telephone. 
('Phone  rings  again) 

MRS.  LEFFINGWELL.  (Disconcerted)  Oh — well 
— what  is  it  ? 

CORBIN.    He  wishes  to  speak  to  you. 

MRS.  LEFFINGWELL.  But  I'm  not  dressed;  ask 
him  to  wait. 

CORBIN.  Come  as  you  are — I'll — the  doctor  and 
I'll  go  into  his  room.  (Goes  to  DOCTOR) 

MRS.  LEFFINGWELL.  (Starting  to  stairs)  Oh 
thank  you — I'm  awfully  sorry  to  trouble  you. 

CORBIN.  (With  megaphone)  Mrs.  Leffingwell 
wishes  to  use  the  telephone. 

DOCTOR.    What  about  it  ? 

CORBIN.  Not  dressed.  (Throws  megaphone  on 
couch) 

DOCTOR.  Oh!     (Exit  with  CORBIN  into  room  i 

R.) 

('Phone  rings.) 

iviRS.  LEFFINGWELL.  (Descending  stairs  as 
quickly  as  peignoir  and  bedroom  slippers  per 
mit)  Dear  me — I'm  coming — I'd  give  a  body  a 
minute. 


72        MRS.  LEFFINGWELL'S  BOOTS. 

MABEL.  (Appearing  on  gallery  from  other  door) 
Shouldn't  some  one  answer  that  telephone?  (Peers 
down  into  fire  lit  studio) 

MRS.  LEFFINGWELL.    I'm  answering  it. 

MABEL.  Oh — you  there  Eva?  Excuse  me. 
(Exit) 

MRS.  LEFFINGWELL.  (At  'phone)  Hello — yes — 
yes — it's  I.  (Pause)  Now  wait  a  minute,  Howard. 
Don't  lose  your  temper.  This  is  only  a  village  and 
think  of  "  Central  "  please.  (Pause)  No— no.  I 
didn't  know  it — He  wasn't  invited.  (Pause)  Yes 
I  asked  all  their  names — now  you  can't  think  that 
when  you  were  expected  yourself.  (Pause.  NORA 
enters  during  the  pause  and  sleepily  goes  upstairs 
in  her  night-gown)  Now,  Howard — Howard — not 
over  the  'phone,  please.  (Pause)  What!  Why  I 
was  in  another  room — what?  (Pause)  well  he  was 
mistaken — nobody's  retired — we're  all  here — Mrs. 
Bonner,  Miss  Ainslie — everybody — yes. 

NORA.  (Rapping  at  MRS.  LEFFINGWELL'S  door) 
Mrs.  Leffingwell !  (Raps)  Mrs.  Leffingwell ! 

MABEL.    (Appearing  at  her  door)    What  is  it? 

MRS.  LEFFINGWELL.  (At  'phone)  Why  should 
you  speak  to  them  ?  Do  you  doubt  my  word  How 
ard?  (Pause)  Well  I'm  not  sitting  up  alone  with 
him.  (Pause) 

NORA.    Where's  Mrs.  Leffingwell? 

MABEL.  She's  there,  I  think.  (NORA  and  MABEL 
advance  to  rail) 

MRS.  LEFFINGWELL.  Oh  Miss  Ainslie — will  you 
please  come  to  the  'phone. 

MABEL.    I 

MRS.  LEFFINGWELL.  Yes,  please.  (In  'phone) 
She's  coming.  (To  MABEL  who  is  descending  stairs 
in  peignoir.  In  assumed  indignation)  Mr.  Leffing 
well  thinks  that  I  am  sitting  up  alone  with — with 
the  gentlemen.  Won't  you  please  say  that  you  are 
here  also.  (Then  in  whisper)  Don't  say  we  had 
gone  to  bed. 


MRS.  LEFFINGWELL'S  BOOTS.        73 
(NORA  descends.) 

MABEL.  (At  'phone)  Good-evening — Ha  ha! — 
(In  society  manner)  Yes  suppose  it  is  morning — 
we  missed  you  very  much  at  dinner.  (Pause) 
Who?  Mrs.  Bonner?  (Gaming  time)  Why  just 
at  this  moment 

MRS.  LEFFINGWELL.  (Interrupting  and  speaking 
loudly  enough  to  affect  'phone)  Mrs.  Bonner?  Yes 
she's  here — Here,  Mrs.  Bonner — speak  to  my  foolish 
husband — Just  say  "  I'm  here  " — (Pushes  NORA  to 
'phone) 

NORA.  (Mechanically  at 'phone)  What!  \Vho 
is  it? 

MRS.  LEFFINGWELL.  (In  whisper  and  covering 
'phone)  Just  say—"  I'm  here  ". 

NORA.  I'm  here — in  Mr.  Bonner's  house — Mr. 
Thomas  Bonner  sir 

MRS.  LEFFINGWELL.  (Interrupting  and  pushing 
NORA  away)  That  will  do.  (Takes 'phone)  I  don't 
know.  (Pause.  Speaks  to  NORA)  He  says  are  you 
offended  Eva?  (NORA  looks  about  for  MRS.  BON 
NER)  No — she  says  she's  not  offended — but  /  am 
Howard — it's  dreadfully  stupid  of  you — what — 
(Haughtily)  well  I  don't  know — we  shall  sit  up,  as 
long  as  we  feel  entertained  (Pause.  Begging) 
Now  Howard  you  mustn't — it's  perfectly  senseless 
of  you — besides  you  can't  leave  the  children — What ! 
Well  listen—  (Calls)  Howard!  Howard!  (Then 
louder)  Howard! 

NORA.     (Getting  megaphone)    Take  this  mum. 

MRS.  LEFFINGWELL.    (In  despair)    He's  gone. 

NORA.     (Yelling  through 'phone)    Howard! 

MRS.  LEFFINGWELL.    No  Nora — never  mind. 

(Enter  MRS.  BONNER,  excitedly  by  the  door  3  L. 
She  is  also  in  peignoir  and  slippers;  and  the 
pastel  colors  of  the  three  ladies'  wraps  have  the 
accent  of  NORA'S  white  muslin  nightie.) 


74        MRS.  LEFFINGWELL'S  BOOTS. 

MRS.  BONNER.    What  is  the  matter? 

MRS.  LEFFINGWELL.  Howard  has  been  telephon 
ing  and  he's  coming  over  now. 

MRS.  BONNER.  '  Why  ? 

MRS.  LEFFINGWELL.    To  be  with  us. 

MRS.  BONNER.  Did  you  tell  him  we'd  gone  to 
bed? 

MRS.  LEFFINGWELL.  No  I  told  him  we  were  sit 
ting  up. 

MRS.  BONNER.  Why  did  you  tell  him  that  ?  Were 
you?  (Looks about) 

MABEL.     (Quickly)    I  wasn't. 

NORA.    /  wasn't  mam 

MRS.  BONNER.    Well  who  were  sitting  up? 

MRS.  LEFFINGWELL.    Nobody  was. 

NORA.  Yes  mam — Mr.  Corbin  was  and  he  asked 
me  to  call  Mrs.  Leffingwell  for  him. 

MRS.  BONNER.  (Mildly  astonished)  Mr.  Corbin 
asked  you  to  call  Mrs.  Leffingwell? 

MRS.  LEFFINGWELL.    To  the  telephone  Eva. 

MRS.  BONNER.  Oh — well,  I  still  don't  understand 
it. 

MRS.  LEFFINGWELL.  Howard  doesn't  like  Mr. 
Corbin — and 

MABEL.    Does  he  know  him? 

MRS.  LEFFINGWELL.    Yes  I  think  he  does. 

MABEL.  Mr.  Corbin  told  me  that  he  didn't  know 
him. 

MRS.  LEFFINGWELL.  Well,  not  intimately  of 
course  ;  but  they've  met — you  see — they've  met 

MRS.  BONNER.  But  you  hadn't  met  Mr.  Corbin 
yourself  ? 

MRS.  LEFFINGWELL.    Yes  I'd — I'd  met  him. 

MRS.  BONNER.  Singular  you  didn't  say  so  when 
I  introduced  you  this  evening. 

MRS.  LEFFINGWELL.  (Disposed  to  cry)  Why  I 
was  nearly  frozen  Eva — I  couldn't  say  anything. 

MABEL.    But  Mr.  Corbin  wasn't  frozen  and  he'd 


MRS.  LEFFINGWELL'S  BOOTS.         75 

already  told  me  you  were  not  acquainted. 

MRS.  LEFFINGWELL.     Perhaps  he'd  forgotten  it. 

MABEL.  Still  your  meeting  again  should  have  re 
called  the  acquaintance. 

MRS.  LEFFINGWELL.  Oh,  it  wasn't  an  acquain 
tance — It  was  just — just  a  casual  meeting;  and  then 
Howard  objected. 

MABEL.    Why? 

MRS.  LEFFINGWELL.  I  don't  know  why — some — 
some  stories  or  other  and  I  promised  Howard  never 
to  go  any  place  where  Mr.  Corbin  was  to  be — so 
there — I  didn't  want  to  say  anything  about  it;  but 
you  all  seem  so — so  surprised — that's  all  there  is  to 
it.  But  Howard's  coming  over;  and  I've  told  him 
we  were  all  "  sitting  up  "  and — and  I  do  wish  you'd 
put  something  on  and  look  as  if  you  were  "  sitting 
up." 

MRS.  BONNER.  But  I  don't  see  why  you  told  him 
that. 

MRS.  LEFFINGWELL.  He  asked  me  what  you  were 
doing,  and  I  said  "  that " — is  seemed  the  most  inno 
cent  thing  to  tell  him — and  then  I  had  to  stick  to 
it — when  a  man's  jealous  you've  got  to — to  fib  a 
little  bit — and  when  a  woman  fibs — her  women 
friends  ought  to  stand  by  her — /  think. 

MRS.  BONNER.  Why  of  course  we'll  stand  by  you 
Cora !  Light  up  the  dining  room,  Nora ;  and  put 
your  bed  in  the  pantry. 

NORA.    Yes'm.     (Exit  to  dining  room) 

MABEL.     (Fatefully)     Why  jealous? 

MRS.  LEFFINGWELL.  (Accepting  MABEL'S  atti 
tude)  Exactly.  Why?  But  there  you  are — wait 
until  you're  married  Miss  Ainslie  and  you'll  under 
stand — please  make  haste  and  dress.  (Goes  to  stair- 
way) 

MRS.  BONNER.  But  Mr.  Corbin  should  dress  too, 
shouldn't  he  ?  That  is  I  suppose  he — he  should. 

MRS.  LEFFINGWELL.  Why  of  course  he  should — 
He  answered  the  telephone  and  called  me. 


76        MRS.  LEFFINGWELL'S  BOOTS. 

MRS.  BONNER.    Where  is  he? 

MRS.  LEFFINGWELL.    In  your  father's  room. 

MRS.  BONNER.  (Rapping  door  R.)  Walter — Mr. 
Corbin — Oh,  don't  come  out — (Wraps  her  peignoir 
in  sudden  alarm) 

CORBIN.    (Off)    What  is  it? 

MRS.  BONNER.  (Through  the  closed  door)  Mrs. 
Leffingwell  wants  us  to  dress ;  and  sit  up.  Mr.  Lef- 
fingwell's  going  to  call,  and  Mrs.  Leffingwell  thinks — 
(To  MRS.  LEFFINGWELL)  How  should  I  explain  it 
to  him. 

MRS.  LEFFINGWELL.  (Going  up  stairs)  Oh,  he 
understands  it.  Pm  sure. 

MRS.  BONNER.  She  says  you  understand  it.  She's 
sure !  Do  you  ? 

CORBIN.    (Off)  Perfectly. 

MABEL.    (Pricking  up  her  ears)    What's  he  say  ? 

MRS.  BONNER.     (Dazed)     He  says  "perfectly." 

MABEL.  (Haughtily)  Oh!  Very  remarkable — 
(Speaks  to  the  gallery  where  MRS.  LEFFINGWELL 
now  is)  Where  did  you  say  you  met  Mr.  Corbin — 
Mrs  Leffingwell? 

MRS.  LEFFINGWELL.  I  don't  think  I  mentioned 
the  place — somewhere — but  don't  let  us  waste  any 
more  time.  (Exit  to  room) 

MABEL.  (Crossing  to  MRS.  BONNER  and  speaking 
in  haunted  undertone)  Eva.  That's  the  woman 
herself. 

MRS.  BONNER.    Oh  no,  dear. 

MABEL.  (In  stabbing  staccato)  Yes!  They 
planned  to  be  here  together — Walter  Corbin  and  she 
— planned  it. 

MRS.  BONNER.  Mabel  how  can  you — they  couldn't 
plan  a  blizzard — the  worst — since  Roscoe  Conklin 
died. 

MABEL.  Wait.  (Goes  to  door  R.)  Mr.  Corbin — 
Walter !  (In  a  misleading  purr) 

CORBIN.     (Opening  door)    Yes. 

MABEL.      (Shutting    door)      Don't    come    out. 


MRS.  LEFFINGWELL'S  BOOTS.        77 

(Pause)  Listen!  Mrs.  Leffingwell's  gone  to  her 
room. 

CORBIN.    Yes. 

MABEL.  She  says  you  and  she  have  met — What 
was  the  last  place  at  which  you  met  ? 

CORBIN.    Why— Bar  Harbor,  I  think. 

(Small  flare  of  green  light.) 

MABEL.  Thank  you.  (In  ghastly  whisper  toward 
MRS.  BONNER)  Bar  Harbor! 

MRS.  BONNER.  (Repeating  in  same  sepulchral 
horror)  Bar  Harbor! 

MABEL.  Bar  Harbor.  ( Throws  herself  on  couch 
to  weept  but  strikes  manikin)  Oh!  (Recoils) 
Who's  that? 

MRS.  BONNER.     (Alarmed)     What? 

MABEL.    There ! 

(MRS.   BONNER  approaches  in  the  fire  light  and 
screams.) 

CORBIN.  (Appearing  in  bath  gown)  What  is  the 
matter  ? 

MABEL.  (Cowering)  Go  back — go  back  to  your 
room. 

(NORA  turns  up  light,  in  dining  roam,  which  shines 
brightly  in.  MRS.  LEFFINGWELL  alarmed  ap 
pears  on  gallery;  she  is  dressing.) 

MRS.  BONNER.  (Waving  CORBIN  back  in  the  sud 
den  stream  of  NORA'S  light)  Just  a  minute  please. 
( CORBIN  exit.  Both  women  glare  at  manikin. 
MRS.  BONNER  relaxes  and  sinks  to  model  stand  with 
weak  laughter) 

MABEL.    What  is  it  ? 

MRS.  BONNER.    Tom's  manikin. 


78        MRS.  LEFFINGWELL'S  BOOTS. 

MABEL.  (Joining  the  laugh  until  she  gets  a 
second  thought)  Who's  bed  is  that? 

MRS.  BONNER.  Walter's — you  heard  me  tell  him 
he'd  have  to  sleep  in  the  studio. 

(MRS.  LEFFINGWELL  exit  to  her  room.) 

MABEL.    Why  is  that  thing  there  if  it's  his  bed? 

MRS.  BONNER.    I  don't  know. 

MABEL.  Why  have  a  dummy?  Where  was  he  go 
ing  himself?  (Suddenly  guessing.  Pause — sus 
picion — certainty)  She  told  the  truth  Eva  over 
the  telephone.  They  were  "  sitting  up  " — On  this 
night — just  when  I'd  forgiven  him  everything. 
(Weeps  in  big  chair) 

MRS.  BONNER.  (Comforting)  Impossible  Mabel 
darling,  impossible — a  lady  and  gentleman  wouldn't 
be  "  sitting  up  "  in  their  night  clothes. 

MABEL.  (Tragically)  Eva!  You're  breaking 
my  heart. 

MRS.  BONNER.    Why  ? 

MABEL.    Don't  tell  me  they  weren't  sitting  up. 

(Bell  rings.) 

MRS.  BONNER.    What's  that? 

MABEL.    The  bell. 

MRS.  BONNER.    He's  here  then. 

(Enter  NORA  with  an  armful  of  bedding.) 

NORA.    There's  the  bell  ma'm. 

MRS.  BONNER.  Yes  Nora — It's  Mr.  Leffingwell. 
Put  those  things  in  the  pantry  and  answer  it. 

NORA.    Yes  ma'm.    (Exit  L.  i) 

MRS.  BONNER.    And  we're  not  dressed  yet. 

MABEL.  I  don't  mean  to  dress — I  won't  help  her 
out  in  her  lies.  (Goes  to  stairs) 


MRS.  LEFFINGWELL'S  BOOTS.         79 
(Bell  rings  again.     NORA  enters.) 

NORA.    Where'll  I  fetch  him  ma'am.    In  here? 

MRS.  BONNER.  (Moving  to  dining  room)  Oh  no ! 
Wait — (Turns  lights  on  in  studio)  Yes  in  here — I'll 
go  through  the  dining  room. 

NORA.    Yes'm.     (Exit  3  L.) 

MABEL.    Hurry  Mabel;  and  dress. 

MABEL.    (Resolutely  on  landing)    Dress!  Never! 

(Exit  MRS.  BONNER  to  dining  room  where  she  turns 
out  light.  Enter  MRS.  LEFFINGWELL  to  the 
gallery.) 

MRS.  LEFFINGWELL.    Was  that  the  bell? 

MABEL.  (Passing  her)  Yes ;  your  husband's  at 
the  door.  Good-night!  (Exit  to  her  room) 

MRS.  LEFFINGWELL.  (On  steps)  But  Miss  Ain- 
slie — please — I  told  him  we  were  "  sitting  up " 
(Comes  to  landing) 

(Enter  CORBIN,  R.  i.    He  has  put  on  his  clothes.) 

CORBIN.  (Quickly)  I'm  afraid  it's  all  my  fault, 
Mrs.  Leffingwell. 

MRS.  LEFFINGWELL.  (Coming  to  stage)  Oh 
please — Walter — we  mustn't  be  sitting  up  alone. 
You  and  I — Go  there.  (Into  dining  room) 

CORBIN.  (Crossing  to  the  dining  room)  Where 
are  the  others?  (Exit  i  L.) 

NORA.     (Off  3  L.)    Yes,  sir,  in  here. 

MRS.  LEFFINGWELL.  Oh!  (Quickly  seises  mom- 
kin  and  TC'/V/i  a  sheet  on  it,  leads  it  left  and  talks  to 
it — rather  than  seem  alone)  My  dear  Mrs.  Rum*«y, 
I'm  so  sorry  you're  ill. 

(Enter  NORA  and  BONNER  3  L.) 
MRS.  LEFFINGWELL.     (Rapping  i  R.) 


80        MRS.  LEFFINGWELL'S  BOOTS. 

Doctor!  (Opens  door  herself)  Mrs.  Rumsey  really 
needs  you.  (Puts  manikin  off  R.  i  and  turns)  Oh ! 
Mr.  Bonner  is  it  you? 

BONNER.  Yes — It's  I — who's  sick?  (To  NORA) 
Where's  Mrs.  Bonner? 

NORA.    There  sir.     (Points  to  dining  room) 

BONNER.    There?    (Starts  for  dining  room) 

MRS.  LEFFINGWELL.    Oh,  no ! 

(CORBIN  enters  and  meets  BONNER.) 

BONNER.     (Pause)    Why  hello  Corbin! 

CORBIN.    Hello  Tom. 

NORA.  (Abjectly)  I  didn't  know  that,  sir. 
(Exit  to  dining  room} 

CORBIN.  (Embarrassed)  You're  late  old  man 
aren't  you? 

BONNER.     (Severely)    Am  I? 

(Enter  DOCTOR  with  manikin  i  R.) 

DOCTOR.  (In  upward  inflection  of  banter)  Why 
do  /  have  this? 

BONNER.  I  give  it  up — why  do  you  have  it  ?  (To 
MRS.  LEFFINGWELL)  Where's  Eva? 

(DOCTOR  puts  manikin  in  chair.) 

MRS.  LEFFINGWELL.    Gone  to  dress. 

BONNER.  To  dress.  Why?  Has  she  been  un 
dressed  ? 

MRS.  LEFFINGWELL.    We  all  have. 

BONNER.  Oh !  have  you  ?  Then  I  am  late.  What 
about  Mr.  Klargess  ? 

DOCTOR.  (Pointing  to  CORBIN)  Those  are  Klar 
gess'  clothes. 

BONNER.  Are  they?  (Looks  about)  Where's 
Klargess  himself.  (Goes  out,  turns  up  light  in  din- 
ing  room  and  returns) 


MRS.  LEFFINGWELL'S  BOOTS.        81 

CORBIN.  Jim  couldn't  get  here  on  account  of  the 
storm.  He  telephoned  me  to  take  his  place  and  use 
his  valise. 

BONNER.  Oh — well  that's  more  encouraging. 
But  don't  let  me  interrupt  the  charade.  (Sees  MRS. 
LEFFINGWELL'S  boots  on  the  fire  logs)  What  is 
this  ?  Puss  in  Boots.  (Picks  up  boots) 

MRS.  LEFFINGWELL.  Oh,  those  are  mine.  Who 
put — them  there? 

CORBIN.    Mrs.  Rumsey. 

DOCTOR.  (Taking  boots  from  BONNER)  They're 
not  dry  yet — better  leave  them.  (Restores  boots  to 
their  places  on  the  andirons) 

(Knock  at  studio  door  up  R.) 

BONNER.    Who's  that? 

MRS.  LEFFINGWELL.  (Anxiously)  That's  Mr. 
Leffingwell.  He's  late  too — Oh,  I'm  so  glad  you  got 
here  first,  and  please  don't  tell  him  we've  been  to 
bed. 

BONNER.  (Stopping  on  way  to  door)  Tell  him 
what? 

MRS.  LEFFINGWELL.  Mr.  Corbin  said  we  had  and 
it  mixed  everything  up  terribly. 

BONNER.    I  should  think  it  might.     (Opens  door) 

DRIVER.    (Outside)    Mr.  Bonner's  house. 

BONNER.    Yes. 

DRIVER.  Sorry  to  be  so  late  but  I've  got  half  a 
gallon  of  ice  cream  for  you.  (Disappears) 

BONNER.  (Closing  door  to  shut  out  storm)  Ice 
cream?  But  we  don't  want  ice  cream  now.  (Con 
sults  watch)  quarter  past  one. 

MRS.  LEFFTNGWELL.  (Pleadingly)  Please  take 
it— it  will  look  so  natural  when  Mr.  Leffingwell  gets 
here. 

BONNER.  What's  Leffingwell  coming  for? 
Breakfast? 


82        MRS.  LEFFINGWELL'S  BOOTS. 
(Enter  MRS.  BONNER  3  L.) 

MRS.  BONNER.  Oh  Tom — I'm  so  glad  you're 
home. 

BONNER.  (Arm  about  her)  Are  you?  (Aside) 
Don't  say  why  I  went  out — I  meant  to  get  back  to 
your  dinner  really. 

MRS.  BONNER.    And  he  wasn't  even  here. 

BONNER.    I  know  he  wasn't. 

(Driver  opens  door  and  sets  in  small  keg  of  ice 
cream  packed  in  tin  and  ice.) 

MRS.  BONNER.     (As  draught  strikes  her)     Brr! 

DRIVER.  Here  you  are  sir.  I  wouldn't  a  bothered 
you  so  late  only  I  saw  your  light.  Good  night. 

BONNER,  DOCTOR,  MRS.  LEFFINGWELL,  and 
CORBIN.  Good-night. 

(Exit  driver  closing  door.) 

MRS.  BONNER.    What  is  that? 

BONNER.    Your  ice  cream. 

DOCTOR.  (To  CORBIN)  Everything  came  but 
the  ice  cream  and  the  guests. 

MRS.  LEFFINGWELL.  Please  get  dressed,  Doctor 
Rumsey. 

BONNER.     (To  MRS.  BONNER)    Who  were  here? 

MRS.  BONNER.    Only  us  and    mother  and  father. 

BONNER.    Where  was  Mabel? 

MRS.  BONNER.    Oh,  she  was  here. 

MRS.  BONNER.    Where  is  she  now? 

MRS.  BONNER.    Her  room. 

BONNER.    Oh.     (Pause.    His  face  saddens) 

MRS.  BONNER.    What  is  it? 

BONNER.    (Cautiously)    Some  bad  news  for  her. 

(All  attend.) 


MRS.  LEFFINGWELL'S  BOOTS.        83 

MRS.  BONNER.    Bad  news. 

BONNER.    Yes,  poor  girl ;  her  father's  dead. 

CORBIN.     (Anxiously)     Mabel's  father? 

( BONNER  nods.) 

DOCTOR.    What  is  it  ? 

CORBIN.  (With  megaphone)  Miss  Ainslie's 
father;  dead! 

MRS.  BONNER.     (Awed)     When  did  it  happen? 

BONNER.  To-day — when  I  found — I — I  couldn't 
get  home,  I  went  into  the  Bevin  House  for  dinner. 
There  I  met  Mabel's  brother. 

MRS.  BONNER.    Dick? 

BONNER.    Yes — he'd  just  had  the  telegram. 

MRS.  BONNER.     (Nodding)     What  time  was  it? 

BONNER.    About  half  past  eight. 

MRS.  BONNER.    He  was  here  at  half  past  seven. 

BONNER.    Here  ? 

MRS.  BONNER.  Yes — His  telegram  then  said  that 
Mabel  was  dead. 

BONNER.  Mabel  dead.  (MRS.  BONNER  nods) 
Well  you  told  him  she  wasn't,  didn't  you  ? 

MRS.  BONNER.    She  told  him  she  wasn't. 

BONNER.    Oh — what  did  he  say? 

MRS.  BONNER.  Seemed  disappointed.  I  didn't 
hear  their  conversation,  but  I  think  the  telegram  was 
a  ruse  to  borrow  money  from  you. 

BONNER.  Oh— I  see.  Yes.  ~  (Pause)  Well  the 
old  man's  death  cost  me  twenty-five. 

MRS.  BONNER.    Well,  there  you  are. 

BONNER.  Dick  thought  it  was  worth  a  hundred, 
but  twenty-five  was  all  I  had  with  me. 

MRS.  BONNER.  You  know  very  well  that  Dick 
was  the  black  sheep  of  that  family. 

BONNER.  (Getting  crosspatch)  Yes  I  know — 
but  even  a  black  sheep  might  be  in  mourning. 

MRS.  BONNER.    The  telegram  was  a  fraud. 

BONNER.  I'd  have  stayed  at  the  Bevin  House, 
only  I  thought  somebody  ought  to  break  it  gently  to 


84        MRS.  LEFFINGWELL'S  BOOTS. 

the  girl — well  there's  one  blessing,  he  won't  get  out 
of  here  in  this  storm  before  I  can  get  the  police  onto 
him.  (Rings  'phone) 

MRS.  BONNER.    Oh  Tom — not  Mabel's  brother. 

BONNER.  Anybody's  brother  that  does  me  for 
twenty  five — the  whole  trouble  is  that  people  are  too 
lenient — (To  'phone)  Give  me  the  chief  of  po 
lice,  please. 

MRS.  BONNER.    Tom ! 

CORBIN.  (Joining  MRS.  BONNER'S  appeal)  I'll 
give  you  the  twenty  five  myself  Tom. 

BONNER.  'Tisn't  the  twenty-five— it's  the  princi 
ple.  ( To  'phone)  Chief  of  police?  (Pause)  Well 
get  him — (Pause)  Mr.  Thomas  Bonner. 

CORBIN.  Tom !  you  know  the  boy  isn't  just  right 
here.  (Touches  head) 

DOCTOR.  (Sharing  the  excitement)  What  is  it, 
Eva? 

MRS.  BONNER.  Tom — now  listen  to  me.  You 
flew  off  the  handle  about  Klargess  when  I  only 
asked  him  here  on  Mabel's  account,  and  you  lost 
your  dinner,  and  twenty  five  dollars. 

BONNER.    I'll  get  the  twenty  five  back. 

MRS.  BONNER.  Now  don't  be  so  unreasonable 
about  this  thing — sleep  over  it.  (fPhone  rings) 

BONNER.  Don't  bother  me.  (To 'phone)  Hello  I 
(Pause)  Yes,  you'll  do  sergeant. 

MRS.  BONNER.    Tom. 

BONNER.  (Waving  them  off)  There's  a  fellow  at 
the  Bevin  House  that  I  want  you  to  arrest. 

MRS.  LEFFINGWELL.    Oh,  I  do  wish  he  wouldn't. 

BONNER.  (At  'phone)  Money  under  false  pre 
tences.  (Pause)  I  will?  (Pause)  You  have  to 
have  a  warrant? 

CORBTN.  (To  others)  It's  all  right;  He  has  to 
have  a  warrant. 

BONNER.  (At  'phone)  Isn't  my  word  good 
enough — (Pause)  Nonsense  I  can't — Come  down 


MRS.  LEFFINGWELL'S  BOOTS.        85 

there  ? — I've  been  two  hours  getting  this  far  from  the 
Bevin  House.  (Pause) 

MRS.  BONNER.  Just  like  him — the  most  hot 
headed,  impulsive 

BONNER.  All  right — You  have  the  officer  here  at 
six — I'll  sign  it,  and  I'll  point  the  man  out  to  him — 
(Pause)  I  don't  care  what  you  call  him — John 
Doe  will  do,  but  his  name's  Ainslie.  (Pause)  Yes 
at  six — all  right.  (Hangs  up  'phone) 

MRS.  BOXNER.    Tom,  if  you'd  only  sleep  over  it. 

BONNER.  I've  got  to  sleep  over  it,  haven't  I? 
They  can't  get  a  man  here  till  six — so  come  on. 
Good-night,  everybody. 

MRS.  LEFFINGWELL.  Oh,  don't  go  until  Howard 
comes. 

MRS.  BONNER.    He  just  started  over  as  you  came. 

BONNER.  Just  started?  Why  he  couldn't  get 
here  in  a  balloon.  Go  to  bed  everybody.  (Starts 
up  the  stairs)  Come  on,  Eva. 

MRS.  BONNER.  (Stopping  him)  Oh,  Tom — I 
had  to  put  Mrs.  Leffingwell  in  your  room — we're 
in  the  blue  room. 

MRS.  LEFFINGWELL.    (Going)    I'm  so  sorry. 

BONNER.  Not  at  all.  Perfectly  welcome.  Where 
are  you,  Walter? 

CORBIN.    Here. 

MRS.  LEFFINGWELL.     (On  gallery)     Good-night. 

CORBIN,  BONNER  and  MRS.  BONNER.    Good-night 

BONNER.     (To  CORBIN)     Good-night. 

CORBIN.    Good-night. 

MRS.  BONNER.    Good-night. 

CORBIN.     Good-night,  Mrs.  Bonner. 

(Exit  BONNER  and  MRS.  BONNER,  3  L.) 

DOCTOR.  (Shaking  head  with  the  patient  smile) 
I  didn't  get  it.  What  was  it  all  about  ? 

CORBIN.  I'll  turn  out  this  light — may  keep  the 
others  awake.  (Turns  off  light) 


86        MRS.  LEFFINGWELL'S  BOOTS. 

DOCTOR.    Yes. 

CORBIN.  (With  megaphone)  It  was  about  Dick 
Ainslie — Miss  Mabel's  brother — sit  down. 

DOCTOR.     (Sitting  on  couch)     What  about  him? 

CORBIN.    Little  bunco  game. 

DOCTOR.    Oh ! 

CORBIN.  He's  been  rather  irregular  in  many  ways 
since  he  was  eighteen  years  old.  Before  that  time 
he  was  the  most  straightforward  boy  you  ever  saw. 

DOCTOR.     Seventeen  you  say? 

CORBIN.    Eighteen. 

DOCTOR.    More  unusual. 

CORBIN.    My  class  at  college. 

DOCTOR.    Was  eh? 

CORBIN.  Yes — your  story  about  your  black  mare 
interested  me.  Especially  the  mental  side  of  the 
injury. 

DOCTOR.    What  about  it  ? 

CORBIN.  Do  you  think  an  injury  to  the  head  or 
neck — if  you  will,  could  produce  a  moral  derange 
ment  as  well  as  a  mental  one  ? 

DOCTOR.  What  are  morals  my  boy  but  the  ex 
pression  of  the  interplay  of  nervous  and  intellectual 
forces  ? 

CORBIN.  You're  getting  beyond  my  depth  now 
Doctor;  but  I  wanted  to  ask  you;  could  mental 
derangement,  brought  about  by  such  an  injury 
manifest  itself  in  just,  ordinary  cussedness.  Could 
it  make  a  crook  out  of  a  boy  that  had  rather  leaned 
the  other  way  before  that  ? 

DOCTOR.     Easily.     Medical  literature's  full  of  it. 

CORBIN.    Really  ? 

DOCTOR.  Really.  (  CORBIN  rises  and  walks  with 
agitated  introspection)  What's  on  your  mind? 

CORBIN.  (Returns  and  resumes  megaphone) 
This  Ainslie  boy  had  an  injury  of  that  kind  just 
about  that  time. 

DOCTOR.    Did  eh  ? 

CORBIN.     Yes,  and  I've  always  suspected,  in  a 


MRS.  LEFFINGWELL'S  BOOTS.        87 

way,  that  much  of  his  waywardness  might  be  traced 
to  that  injury. 

DOCTOR.    Been  very  wayward? 

CORBIN.    I  couldn't  begin  to  tell  you. 

DOCTOR.    What's  he  done  now  ? 

CORBIN.  Beat  Tom  out  of  twenty-five  dollars — 
Tom's  going  to  arrest  him — but  by  jove  I  know  the 
boy  isn't  responsible. 

DOCTOR.  I'd  like  to  see  him  alone.  Wonder  if 
he'd  submit  to  an  examination. 

CORBIN.  Probably  not.  He  generally  does  the 
exact  opposite  of  what  you  request. 

(Enter  NORA  in  great  excitement,  i  L.) 

NORA.     Mr.  Corbin !     Mr.  Corbin ! 

CORBIN.    Yes.    Who  is  it  ? 

NORA.    It's  me. 

CORBIN.    Oh,  Nora  ? 

NORA.    Yes.    Can  I  come  in? 

CORBIN.    Yes.    Doctor  Rumsey's  here. 

NORA.  There's  somebody  tryin'  to  get  in  the 
house. 

CORBIN.    Probably  Mr.  Leffingwell. 

NORA.  I  don't  think  so.  It's  a  man.  He  looked 
in  the  dining  room  window  and  tried  the  door. 

CORBIN.    Did  he  rap  ? 

NORA.  No,  sir.  Now  he's  gone  around  that  way. 
(The  back) 

( CORBIN  goes  to  window.) 
DOCTOR.    What  is  it  ? 

( CORBIN  motions  silence.) 

NORA.    Shall  I  call  Mr.  Bonner? 

CORBIN.    No.    Don't  disturb  anyone.    (Returns) 


88         MRS.  LEFFiNGWELL'S  BOOTS. 

Lie  down  Doctor,  and  be  still.  There's  a  prowler  at 
the  door  here.  (Sound  from  door)  Go  to  your 
room  Nora;  and  no  lights. 

NORA.    I  can't. 

CORBIN.     Why  can't  you? 

NORA.    The  Butler's  there. 

CORBIN.  You  might  send  the  Butler  here.  He's 
a  husky  looking  chap. 

NORA.    Yes;  sir. 

CORBIN.  Tell  him  what's  going  on ;  and  no  lights, 
remember. 

NORA.    Yes,  sir.     (Exit) 

DOCTOR.     (Sitting  up)    What  is  it? 

CORBIN.  Keep  still — seem  to  be  asleep.  Here 
(With  manikin  which  has  occupied  the  chair) 
nobody  be  sitting  up.  (Puts  manikin  to  bed  with 
DOCTOR — sheds  his  own  coat  and  stands  by  door) 

DOCTOR.  (Lying  beside  the  manikin)  You  know 
I'm  no  great  stickler  for  appearances,  Corbin, 
( CORBIN  motions  silence)  but  this  looks  silly. 

(The  back  door  opens — DICK  enters  cautiously. 
CORBIN  is  behind  the  door.  DICK  is  fascinated 
by  the  sleeping  couple;  the  DOCTOR  and  the 
manikin.  He  closes  door  and  approaches 
DOCTOR  cautiously.) 

DOCTOR.  (Resuming)  It  looks  silly — Suppose 
anybody  could  see  the  three  of  us  now.  (Half  rises) 

DICK.  (With  gun  pointed  at  the  DOCTOR)  Keep 
still. 

DOCTOR.  (Not  liking  it,  at  all)  See  here,  my 
man. 

DICK.  (In  hoarse  whisper)  I  don't  want  to 
hurt  anybody,  and  I  won't  if  you  don't  move. 

( CORBIN  grabs  DICK  from  behind  and  a  struggle 


MRS.  LEFFINGWELL'S  BOOTS.        89 

ensues.) 
CORBIN.    Lend  a  hand,  Doctor,  quick ! 

(Gun  is  discharged.  DOCTOR  joins  in  struggle, 
women  scream  in  their  rooms.  DICK  is  over- 
poivered  and  throivn  on  the  couch.) 

CORBIN.  Give  me  that  lariat.  (DOCTOR  gives 
lariat  and  he  and  CORBIN  tie  DICK) 

DICK.  (Struggling)  Damn  you,  Corbin !  Damn 
you! 

CORBIN.    It's  Dick. 

DICK.  Yes,  it's  Dick  and  you  can't  bluff  me  when 
I've  once  started.  (MRS.  LEFFINGWELL  appears) 
I'll  swear  that  Mrs.  Leffingwell  was  in  your  room. 

CORBIN.    Shut  up. 

MRS.  LEFFINGWELL.    Oh!    Oh! 

DICK.  (Shouting)  Swear  it  in  any  court  in  the 
world — I'll  get  even  with  you — and  Mrs.  Leffing- 
well's  husband  believes  it.  (Laughs) 

CORBIN.  Stop !  Give  me  a  towel,  or  something, 
to  gag  him. 

DICK.  (Laughing)  Ha,  ha,  Mrs.  Leffingwell's 
husband 

(DOCTOR  hands  CORBIN  one  of  MRS.  LEFFINGWELL'S 
silk  boots.  CORBIN  proceeds  to  gag  DICK  with 
the  boot  and  a  handkerchief.  MABEL  starts  to 
come  onto  gallery.) 

MRS.  LEFFINGWELL.  (Holding  MABEL'S  door) 
No,  no,  Miss  Ainslie ;  please  stay  in  your  room. 

CORBIN.  (With  megaphone,  to  DOCTOR)  It's 
Miss  Ainslie's  brother— we  mustn't  let  the  girl 
know — can't  we  take  him  somewhere?  Your  room 
Doctor. 

(Enter  NORA  i  L.) 


90        MRS.  LEFFINGWELL'S  BOOTS. 

NORA.    The  butler's  comin'  sir. 
MRS.  LEFFINGWELL.    (To  MABEL)    No,  no — you 
can't  come  out — you  can't. 

CORBIN.    Nora,  help  Mrs.  Leffingwell  up  there. 
NORA.    Yes,  sir.     (Runs  up  stairs) 

(Enter  BUTLER  by  dining  room;  he  is  in  shirt  sleeves 
with  suspenders  hanging.) 

BUTLER.    Anybody  hurt  ? 

CORBIN.  Not  seriously.  Lend  a  hand  here,  will 
you  ?  This  man,  in  that  room. 

BUTLER.  Yes,  sir.  (CORBIN  and  BUTLER  put 
DICK  in  DOCTOR'S  room  i  R.,  as  DOCTOR  opens  door) 

NORA.    Burglars !    Burglars ! 

CORBIN.  (Exit  with  DICK  and  BUTLER)  All 
right,  Mrs.  Leffingwell.  Open  the  door. 

(DOCTOR  follows.    MABEL  appears  on  gallery.) 

MABEL.    Why  do  you  hold  my  door? 

MRS.  LEFFINGWELL.  The  men  were  fighting  a 
burglar — you  might  be  shot,  my  dear. 

CORBIN.  (Re-entering  quickly)  It's  all  over — 
all  over — please  go  to  your  rooms  ladies. 

MABEL.    But  what  is  the  man. 

( CORBIN  turns  up  light,  MRS.  LEFFINGWELL  and 
MABEL  in  bedroom  attire,  scream  wildly  and 
disappear.  Re-enter  DOCTOR,  NORA  descends.) 

NORA.    Shall  I  call  the  master,  sir? 
CORBIN.     No,  tell  him  and  Mrs.  Bonner  it's  all 
quiet  again. 

NORA.    Yes,  sir. 

(Enter  BONNER  in  pajamas  3  L.) 


MRS.  LEFFINGWELL'S  BOOTS.        91 

BONNER.    Who's  shot? 

NORA.    A  burglar. 

CORBIN.  It's  all  right,  Tom.  We've  got  him  in 
there — tied  and  gagged. 

BONNER.    Is  he  shot? 

CORBIN.    No. 

BONNER.  We  heard  the  gun,  but  Eva  held  me. 
You're  sure  no  one's  hurt? 

CORBIN.    Perfectly. 

BONNER.  I'll  tell  her  no  one's  hurt  and  come  back. 
Nora  go  to  Mrs.  Rumsey,  and  Willy — he's  yelling 
his  head  off. 

NORA.    Yes,  sir.     (Exit  3  L.) 

BONNER.  I  want  a  look  at  him.  Wow!  what  is 
that  odor? 

CORBIN.  Nora's  liniment.  (BONNER  exit  3  L.) 
They  mustn't  see  him  Doctor.  Tom'd  give  him  to 
the  police. 

DOCTOR.  That's  so — why  you're  hurt,  my  boy, 
there's  blood  on  your  hand. 

CORBIN.  Just  the  fleshy  part — the  arm — the  bullet 
grazed  me. 

DOCTOR.    Let  me  see  it. 

CORBIN.  There  isn't  time.  (Enter  BUTLER  I  R.) 
Here  butler,  that  burglar's  a  friend  of  mine. 

BUTLER.    A  friend,  sir. 

CORBIN.  (Bringing  him  doivn  persuasively) 
Yes.  Nobody  must  see  him  for  a  few  hours  anyway. 
I  want  you  to  take  his  place. 

BUTLER.    Take  his  place  ? 

CORBIN.  (Getting  rope  from  the  DOCTOR'S  dress 
ing  gown)  Yes.  I'll  tie  you  and  you  can  keep  still. 

BUTLER.     (Retreating)     No,  sir! 

CORBIN.  (Following  insistently)  There's  twenty 
dollars  in  it,  for  you. 

BUTLER.    No,  sir,  I'm  no  burglar. 

CORBIN.  (Turning  out  light)  For  two  hours 
only — half  an  hour. 


92        MRS.  LEFFINGWELL'S  BOOTS. 

BUTLER.  No,  sir — my  character's  something  to 
me, 

CORBIN.  (Bringing  him  down)  Your  character'll 
be  safe  I  tell  you  (Gets  the  other  boot)  but  he's 
that  young  lady's  brother.  (Points  to  MABEL'S 
door)  Her  brother. 

BUTLER.    Nothing  to  me,  sir. 

CORBIN.    You're  an  idiot. 

BUTLER.    Perhaps  I  am  sir,  but  I'm  innocent. 

BONNER.  (Off  3  L.)  Now  let's  have  a  look  at 
him.  (  CORBIN  grabs  the  BUTLER  putting  MRS. 
LEFFINGWELL'S  boot  over  his  face.  The  DOCTOR 
assists  in  a  low  tackle  from  the  other  side.  (Enter 
BONNER)  Corbin — Walter — what's  the  row? 

CORBIN.  He's  getting  away  again.  Tom,  he's 
getting  away. 

BONNER.  (Aiding  the  DOCTOR  and  CORBIN) 
Hang  to  him.  Now  back  with  him — I've  got  him 
all  right. 

(MABEL  and  MRS.  LEFFINGWELL  appear  on  the 
gallery,  in  peignoirs.  The  men  throw  the 
BUTLER  to  the  couch.) 

MABEL.  Oh,  gentlemen — gentlemen,  what  is  the 
matter  ? 

BONNER.  There!  (As  they  finish  with  the 
prostrate  BUTLER) 

(Enter  MRS.  BONNER  3  L.    Also  in  peignoir.) 

MRS.  BONNER.    Tom!    Tom! 

BONNER.  He  just  got  loose  again,  that's  all. 
(Turns  up  light) 

MRS.  BONNER.  Oh,  don't  let  me  see  him.  Don't 
let  me  see  him. 

MABEL.     (Calling)    Eva! 

MRS  BONNER.  You  poor  dear,  are  you  all  safe? 
(Runs  up  the  stairs  and  joins  the  frightened  women) 


MRS.  LEFFINGWELL'S  BOOTS.        93 
(Enter  MOTHER  3  L.) 

MABEL  and  MRS.  LEFFINGWELL.  (In  hysterical 
unison)  Yes,  Eva  dear,  yes.  (They  huddle) 

MOTHER.  Henry!  Where's  Henry?  (MOTHER 
runs  to  DOCTOR'S  door) 

(Enter   NORA    3    L.      DOCTOR    interposes   so    that 
MOTHER  can't  enter  his  room  where  DICK  is.) 

BONNER.  (Returning  to  couch)  Why  I  know 
that  scoundrel.  I  hire  him  sometimes  for  the 
pantry. 

NORA.  Oh,  no,  sir.  That  isn't  the  burglar,  Mr. 
Corbin. 

CORBIN.  (Interrupting)  Don't  get  excited  Nora. 
The  man  isn't  strong  enough  for  that  medicine — go 
to  your  room.  (He  puts  her  out  into  the  dining 
room) 

(The  telephone  rings.) 

NORA.  (Outside)  Oh,  Mrs.  Bonner!  Mrs. 
Bonner ! 

( CORBIN  shuts  dining  room  door.) 

MRS.  BONNER.  (On  the  gallery)  Tom!  What 
is  it  ?  Nora ! 

CORBIN.  (At 'phone)  Hello!  (The  three  ladies 
in  peignoirs  kneel  and  crane  over  the  rail  to  listen. 
DOCTOR  is  keeping  mother  from  his  room)  Oh, 
Damn  Leffingwell! 

(The  ladies  exclaim  in  unison  and  recoil.  CORBIN 
meets  NORA,  who  is  re-entering  and  puts  htr 
out.) 

CURTAIN. 


94        MRS.  LEFFINGWELL'S  BOOTS. 


ACT  III. 

SCENE: — Same  as  ACT  II — The  Studio. 
TIME: — Near  daybreak 

Outside  the  blizzard  has  turned  into  an  ice 
storm.  The  tree  tops  are  crystal. 

The  moon  shines  until  the  dawn  effects  ap 
pear. 

DISCOVERED:— CORBIN  in  his  street  clothes 
again:  reefer, — the  DOCTOR  in  dressing  gown. 
The  BUTLER  lies  gagged  on  the  couch. 

CORBIN.  (Occasionally  pausing  to  swing  his  arms 
for  warmth")  See  here  my  man — It's  six  o'clock. 
In  half  an  hour  the  sun  will  be  up — If  you'd  have 
listened  to  reason  you  could  have  had  that  gag  out 
of  your  mouth  four  hours  ago.  (Swings  arms) 

DOCTOR.  Tell  him  that  without  knowing  it,  he's 
helped  accomplish  a  great  deal  of  good. 

CORBIN.  (By  megaphone)  I  don't  have  to  tell 
him — he  hears  you.  (Sivings  again) 

DOCTOR.  Of  course  he  does — But  one  forms  the 
habit  of  thinking  a  dumb  man  must  also  be  deaf. 

CORBIN.  That's  only  a  gag.  (To  BUTLER)  No 
body's  hurt  you — you  know;  and  nobody's  going 
to — you've  had  the  only  warm  cover  there  was. 
When  it  comes  to  a  showdown  I'll  take  all  the  blame 
on  myself  and  there'll  be  no  charge  against  you, 
whatever — provided,  you  behave  yourself. 

DICK.  (In  DOCTOR'S  room)  Help — help — 
( CORBIN  rises  and  motions  DOCTOR  to  go)  Let  me 
out  of  here — Mabel — Mabel 


MRS    LEFFINGWELL'S  BOOTS.        95 

DOCTOR.     (Going)     Hollering  again. 
CORBIN.    Yes.     (Motions  DOCTOR  to  gag  him) 

(Exit  DOCTOR,  i  R.) 

<  DICK.    (Off)    Mabel— Mabel— Help!    (His voice 
is  smothered) 

CORBIN.  (Pause.  To  BUTLER)  If  you  were  in 
that  poor  boy's  place  you'd  have  some  reason  to  kick. 
( BUTLER  tries  to  draw  up  his  knees)  I  know  you 
can't — but  you  know  what  I  mean. 

(Enter  MABEL  on  balcony — she  has  her  sealskin 
over  her  wrapper.) 

MABEL.    Who  called  ? 
CORBIN.    The  Burglar. 
MABEL.    But  he  called  "  Mabel,  Mabel." 
CORBIN.    Yes — (To  BUTLER)    The  lady's  name  is 
Miss  Ainslie. 

(NoRA  opens  dining  room  door.) 

MABEL.  It  sounded  like  my  brother's  voice. 

CORBIN.  A  dream  will  color  one's  impression. 

MABEL.  I  don't  think  I  was  asleep. 

CORBIN.  I'll  try  not  to  let  him  do  it  again. 

(Exit  MABEL.) 

NORA.    Somebody  called  "  Help." 

CORBIN.    He  didn't  mean  you,  Nora. 

NORA.    How's  Mr.  Orton,  sir? 

CORBIN.    Mr.  Orton's  doing  something  for  me. 

NORA.  (Points  to  couch)  Ain't  that  Mr.  Orton, 
sir? 

CORBIN.    This  is  the  burglar — go  back  to  bed. 

NORA.  It's  comin'  daylight,  isn't  it?  What  time 
is  it,  please? 


96        MRS.  LEFFINGWELL'S  BOOTS. 

CORBIN.     Six  o'clock — that  is  still  the  moonlight. 

NORA.  Six  o'clock — I  must  be  gettin'  up  sir — 
that  call  for  help  raised  me  standing.  (Starts  off) 

CORBIN.  You  shouldn't  mistake  a  call,  Nora,  for 
a  raise — see  here 

NORA.    (Stopping)    Yes,  sir 

CORBIN.  What's  the  matter  with  the  furnace— 
that  register  has  icicles  on  it. 

NORA.  It's  the  coachman's  fault,  sir.  The  coach 
man  tends  to  the  furnace. 

CORBIN.    You  mean  he  doesn't  attend  to  it. 

NORA.  Him  and  Mr.  Orton  had  all  the  leavin's 
in  the  wine  glasses  last  night — and  I  expect  he  for 
got  the  furnace. 

CORBIN.  Well  see  if  you  can't  find  some  wood 
for  this  fireplace,  then. 

NORA.  There's  only  plain  wood,  sir — they  ain't 
any  more  of  that  rainbow  stuff. 

CORBIN.    Plain  wood'll  do. 

NORA.    Yes,  sir.     (Goes) 

(Enter  DOCTOR.) 
DOCTOR.    I  hated  to  tie  him  again 

(Enter   BONNER,   3   L.     He  is  in  pajamas,  and 
slippers.) 

BONNER.    Who  was  that  shouting? 
CORBIN.    Our  burglar. 

( BUTLER  wriggles.) 

BONNER.    Did  he  get  loose? 

CORBIN.    Only  his  mouth 

BONNER.  (In  astonishment)  You're  dressed, 
aren't  you? 

CORBIN.     I  couldn't  sleep — hurt  my  arm  a  little 


MRS.  LEFFINGWELL'S  BOOTS.        97 

in  our  first  scrap — I  fear  I've  kept  the  Doctor  up 
too. 

BONNER.  I'll  get  dressed  myself,  and  be  with 
you — Gee  whiz,  this  place  is  cold. 

CORBIN.  The  coachman's  a  little  overtrained 
socially,  and  he  forgot  the  furnace. 

BONNER.    Can  you  run  one  of  them  ? 

CORBIN.    Coachman  ? 

BONNER.  No!  furnace?  ( CORBIN  swinging  his 
arms,  shakes  his  head  "  no  ")  Eva  understands  the 
thing — but  hang  it ;  it  doesn't  seem  conjugal  to  make 
a  wife  get  out  of  a  warm  bed  to  fire  up  a  furnace  ? 

CORBIN.    No. 

BONNER.  (Casting  about.  Pause)  I'll  bet  that 
fellow  could  do  it,  if  he  wasn't  tied. 

CORBIN.  Mustn't  put  ourselves  under  obligations 
to  him. 

BONNER.    I  suppose  not. 

DOCTOR.    What  is  it  ? 

CORBIN.  The  coachman  may  have  got  rid  of  his 
tide  by  this  time. 

BONNER.  The  wire  to  the  stable  is  down.  His 
bell  doesn't  ring.  (Takes  megaphone — goes  to  back 
door) 

DOCTOR.    What's  the  matter? 

CORBIN.  (Megaphoning  with  hands)  Coach 
man! 

DOCTOR.  (Correcting  him — pointing  to  BUTLER) 
Butler 

BONNER.  (Who  has  opened  door  at  which  wind 
howls)  Holy  smoke,  the  blizzard  has  changed  into 
an  ice  storm.  (He  calls  thro'  the  megaphone  lean 
ing  from  door  to  do  so)  John — John — (An 
avalanche  -from  the  roof  hits  the  megaphone  and 
him — He  returns  closing  the  door) 

CORBIN.  Never  mind — the  maid  is  fetching  some 
wood  for  this  place. 

BONNER.  (Disgusted)  You  know  we  spent  last 
winter  at  Palm  Beach — Eva  didn't  like  it  there — 


98        MRS.  LEFFINGWELL'S  BOOTS. 

she  said  she  thought  it  was  too  effeminate,  not  to 
have  the  children  get  a  real  winter.  (Digs  the  snow 
from  his  neck) 

CORBIN.    JTis  good  discipline. 

BONNER.  Don't  think  discipline's  what  I  need. 
(To  DOCTOR)  Did  you  ever  light  up  that  furnace 
down  stairs? 

DOCTOR.    (Positively)    No. 

BONNER.     (Getting^  into  ulster)    Well  I'll  try  it. 


CORBIN.  (Watching  BONNER  out)  Your  last 
chance,  my  man  —  if  you'll  go  gently  about  your 
business  I'll  untie  you.  Now  I'm  going  to  remove 
this  gag  —  there. 

BUTLER.  {Speaking  not  loudly)  I  know  you. 
You're  a  rich  man  and  I'll  make  you  pay  for  this. 
I'll  have  the  law  - 

CORBIN.  Don't  get  me  frightened  about  the  law, 
Orton,  or  I'll  make  you  do  time  for  housebreakin'. 

BUTLER.  Why  you  know  that  I'm  as  innocent  as 
that  image  —  you  might  as  well  tie  and  gag  that. 

CORBIN.  I  will  ;  thank  you  for  the  suggestion, 
Orton  —  and  you  shall  help  me.  Here's  a  twenty 
dollar  bill  for  your  night's  work. 

BUTLER.  That's  nothin'  to  me,  sir  —  Mr.  Bonner 
thinks  I'm  a  crook. 

CORBIN.    I'll  tell  Mr.  Bonner  you're  not  a  crook. 

BUTLER.    How'll  I  know  you  will  ? 

CORBIN.    You'll  hear  me,  and  you'll  know  I  have. 

DOCTOR.     (As  BUTLER  sits  up)    Is  it  all  right? 

CORBIN.     It  will  be  I  think. 

BUTLER.    Why  didn't  you  tell  him  then? 

CORBIN.  Because  that  lad  isn't  ready  —  Doctor 
Rumsey  isn't  through  working  on  him  —  When  I 
produce  the  real  burglar  I  want  him  to  look  his 
best  —  Now  don't  be  an  ass,  Orton.  Take  this  twenty 
and  keep  still. 

BUTLER.  I'll  take  the  twenty,  sir,  but  that  don't 
end  it. 


MRS.  LEFFINGWELL'S  BOOTS.        99 

DOCTOR.  (Seeing  BUTLER  take  money)  Good — 
(To  CORBIN)  You  know  I've  reduced  that  swelling 
till  it's  hardly  noticeable. 

CORBIN.    You  think  that's  the  cause  of  it  ? 

DOCTOR.  It's  sufficient — Distinct  dislocation  of 
the  axis  also — My  bed's  placed  so  awkwardly  I  can't 
get  at  him  for  the  pull  I  want,  and  I'm  too  fat  to 
work  on  the  floor.  If  we  could  bring  this  thing  in 
there 

CORBIN.    Bring  your  man  here. 

DOCTOR.    Very  well. 

CORBIN.  Orton  and  I  will  do  it — you  tie  and  gag 
this  obstreperous  party.  (Indicates  manikin)  Come, 
Orton. 

DOCTOR.  Let  him  walk — there  are  two  of  you. 
(Picks  up  manikin) 

BUTLER.  (Pointing  at  DICK'S  door)  Why  7  ain't 
even  sure  that  man's  a  burglar. 

CORBIN.  Neither  am  I — (Exit  with  BUTLER,  I 
R.) 

DOCTOR.  Gad  if  he  gets  very  ugly,  there  are  four 
of  us — (Puts  rope  about  manikin)  This  is  the  third 
man  I've  overpowered  to-night;  and  they  seem  to 
get  easier.  (Throivs  rug  over  manikin  as  NORA 
enters) 

NORA.  (With  kindling  wood)  Ain't  that  Mr. 
Orton,  Doctor? 

DOCTOR.    No. 

NORA.  (Putting  kindling  in  fireplace)  Mr. 
Bonner  just  told  me  it  was. 

DOCTOR.  Don't  strike  a  match  with  that  liniment 
on  you,  Nora — It's  volatile,  I'll  do  that.  (Takes 
matches  from  her  at  fireplace) 

NORA.  I'll  bring  the  wood,  sir.  (Goes.  Passing 
the  manikin.  In  whisper)  Mr.  Orton!  (Pause) 
Mr.  Orton — if  it  is  you — move  your  feet.  (Pause) 
Mr.  Orton — (Pause)  move  anything. 

DOCTOR.    (Turning)    Zut—  (In  a  scat  whisper) 


ioo       MRS.  LEFFINGWELL'S  BOOTS. 

NORA.  (Jumping  up)  Oh — Oh,  how  you 
frightened  me,  Doctor.  (Exit  I  L.) 

(Re-enter  CORBIN  with  DICK  walking,  but  otherwise 
tied  and  followed  by  BUTLER.) 

CORBIN.  Now  Dick,  I've  untied  your  feet. 
(DOCTOR  moves  manikin  to  window  seat — back  of 
piano.  DICK  regards  the  proceeding  with  alarm) 
That's  only  a  dummy  we  have  passed  off  for  you — 
I've  untied  your  feet,  and  I'll  take  that  pad  off 
your  mouth  in  a  few  minutes — Doctor  Rumsey's 
your  friend.  You  remember  a  hard  lump  on  the 
back  of  your  neck,  don't  you  ?  I'm  going-  to  release 
this  one  hand  and  let  you  feel  for  yourself — but 
don't  try  to  fight  with  it,  because  we've  six  hands 
here  to  your  one — there !  ( The  DOCTOR  has  joined 
group.  DICK  feels  his  own  neck)  It's  gone. 
(DiCK  looks  at  DOCTOR  who  nods)  That  lump  has 
been  dissipated  by  Doctor  Rumsey  in  the  two  hours' 
manipulation  you've  had  to-night.  There's  still 
something  more  to  do — tell  him  what  you  want, 
Doctor. 

DOCTOR.  I  want  you  to  lie  on  this  couch,  Dick, 
and  let  yourself  perfectly  relax.  Untie  the  other 
hand 

(  CORBIN  does  so.    DICK  lies  down.    Enter  NORA 
with  big  wood.) 

NORA.  I  don't  want  to  doubt  your  word,  Mister 
Corbin — but 

CORBIN.     (Interrupted)    What  is  it? 

NORA.    But  if  I  was  sure  that  wasn't  Mr.  Orton — 

CORBIN.  Well,  look  at  him  (Indicates  DICK) 
besides  this  is  Mr.  Orton.  (Points  to  BUTLER  stand 
ing  the  other  side  of  couch) 

BUTLER.    What  is  it? 

NORA.    Oh — so  it  is — excuse  me. 


MRS.  LEFFINGWELL'S  BOOTS.       101 

CORBIN.    Now  run  away,  Nora. 
NORA.    Yes,  sir — (To  BUTLER)    There  was  a  bug 
in  it. 

(DicK  sits  up  at  the  reference  to  the  bug.) 

DOCTOR.    Lie  down,  my  boy 

CORBIN.     Run  away,  Nora. 

NORA.  I'm  so  unhappy,  sir — I  unscrewed  the 
faucet  and  I'll  show  him  the  bug  if  he'll  only  come, 
sir. 

(DicK  rises  again,  haunted.) 

CORBIN.  (Pushing  DICK  down)  Go  look  at  her 
bug,  Orton,  and  help  the  girl  get  us  a  cup  of  coffee. 

BUTLER.    Yes,  sir. 

CORBIN.  And  remember — (Finger  on  lips)  noth 
ing  till  I  tell  it. 

BUTLER.    Yes,  sir. 

NORA.     (To  CORBIN)     Thank  you,  sir.     (Exit) 

BUTLER.  (In  doorway)  Of  course  you  know, 
sir,  I'm  here  just  temporary. 

CORBIN.     (Sadly)    Orton — we  all  are. 

(Exit  BUTLER.) 

DOCTOR.  (To  DICK)  Now  I'm  going  to  move 
your  head  a  little;  and  pull  on  it  a  good  deal — I 
don't  think  it'll  hurt  you  my  boy — I'll  have  to  have 
that  handkerchief  away. 

CORBIN.  (Removing  bandage)  Don't  holler 
Dick — your  sister  Mabel's  in  that  room. 

DOCTOR.  Steady — (Pulls)  Steady — relax  my 
lad — don't  resist  me  with  the  muscles — (Moves  head 
slowly,  then  pulls,  and  then  gives  quick  side  pressure. 
DICK  gives  slight  grunt.  DOCTOR  taking  his  hands 
away  with  the  air  of  a  job  finished)  That's  all — 
you've  been  pretty  seriously  ill  for  the  past  six  years, 


102       MRS.  LEFFINGWELL'S  BOOTS. 

my  boy,  but  it's  over — suppose  you  sit  up.  (DiCK 
sits  up)  How  do  you  feel? 

DICK.    Sleepy. 

CORBIN.     (With  megaphone)     He  says  sleepy. 

DOCTOR.  Any  different  around  here  ?  (Indicates 
own  head) 

DICK.    Seems  like  an  iron  band  had  gone. 

CORBIN.  (Relaying  through  megaphone)  Like 
an  iron  band  had  gone 

DOCTOR.  It  has  practically;  same  kind  of  pres 
sure. 

DICK.    So  sleepy 

CORBIN.     (Repeating)     Sleepy 

DOCTOR.  Well,  come  into  my  room  and  sleep— 
just  what  you  need. 

(DiCK  rises.) 

DICK.  (Turning)  Say  Walter — one  minute — I 
could  go  to  sleep,  only  there's  a  note  that  I  endorsed 
— comes  due  this  morning  at  the  Lincoln  Bank — 
for  a  hundred  dollars. 

CORBIN.    Yes  ? 

DICK.    I  can't  pay  it. 

CORBIN.  That's  all  right,  Dick— I'll  telephone 
them  to  take  care  of  it. 

DICK.  Will  you?  Thanks — and  say,  Walter — I 
— I  put  your  name  on  it — rotten  thing  to  do — don't 
know  why  I  did  it. 

CORBIN.    Never  mind — go  lie  down. 

DOCTOR.  (As  they  go)  If  you're  ever  hanged, 
my  boy,  it'll  only  be  about  double  that  pressure, 
that  you  used  to  have  there.  The  whole  weight  of 
your  head  pressing  one  bone  onto  a  nerve — (Exit 
with  DICK) 

(Enter  NORA  and  BUTLER.) 
NORA.    Mr.  Corbin 


MRS.  LEFFINGWELL'S  BOOTS.       103 
(CORBIN  turns.) 

CORBIN.    Well,  Nora? 

NORA.    Where's  the  burglar  ? 

CORBIN.  There — (Points  to  window  seat  where 
the  manikin  lies)  Don't  you  see  him — what  about 
the  coffee? 

BUTLER.    I  don't  know,  sir. 

NORA.  The  cook  won't  let  me  come  into  the 
kitchen,  sir.  She  says  the  smell  of  this  liniment 
before  breakfast  makes  her  wobbley 

CORBIN.  (Getting  the  odor)  'M — far  be  it  from 
me  to  dispute  with  an  expert.  (To  BUTLER)  You 

go- 

BUTLER.  (Slowly  shaking  head)  Oh,  no,  sir — 
my  department's  only  the  pantry 

CORBIN.  Well,  can't  you  waive  rank  this  once  and 
go  into  the  kitchen? 

BUTLER.  Besides  she's  a  very  disagreeable  party 
— the  cook. 

CORBIN.    Well,  you're  here  "  just  temporary." 

BUTLER.    That's  so,  sir — but  then — (Pauses) 

CORBIN.    What? 

BUTLER.  The  dinner  last  night  didn't  go  off  to 
her  liking — she  says  the  kitchen  and  not  the  pantry 
has  the  right  to  the  heel  taps,  and  she's  still  pretty 
hot  in  the  collar,  sir. 

CORBIN.  (Getting  the  freezer  of  ice  cream)  You 
give  her  this,  with  my  compliments. 

BUTLER.    What  is  it? 

CORBIN.  Half  a  gallon  of  ice  cream.  If  the  worst 
comes  to  the  worst,  put  some  in  her  collar. 

BUTLER.  (Smiling)  Oh — she'll  do  that,  sir. 
(Indicates  throat.  Exit  BUTLER) 

NORA.    Is  it  all  for  the  cook,  Mr.  Corbin,  please  ? 

CORBIN.  (Quickly,  and  calling)  O«**n! — Hold 
out  one  quart  for  the  pantry. 

NORA.     (Going)     Thank  you,  sir. 

CORBIN.    And  Nora — perhaps  you  won't  even  be 


104       MRS.  LEFFINGWELL'S  BOOTS. 

needed  in  the  dining  room — as  long  as  you're  running" 
that  naphtha  auxiliary 

NORA.    Beg  pardon,  sir. 

CORBIN.  I  want  you  to  sit  up  here — (Goes  up  to 
window)  and  guard  the  burglar.  That  liniment 
won't  upset  him.  Here's  a  pistol 

NORA.    Oh,  I  never  could  hold  a  pistol,  sir 

CORBIN.  Sh — he  won't  know — not  him — take  a 
candle — (Gives  her  a  candle)  just  pretend — There's 
a  brave  girl — sit  here — (Addresses  dummy)  Now, 
sir,  if  you  move  hand  or  foot — this  young  woman 
has  my  orders  to  shoot.  Go  closer,  Nora. 

NORA.  Oh,  no,  sir — perhaps  this  liniment  does 
smell  before  breakfast.  You  see  Cook  says  it  makes 
her  wobbley. 

CORBIN.     No  matter — shoot  him  if  he  wobbles. 

(Enter  LEFFINGWELL  by  dining  room.) 

LEFFINGWELL.  (In  good  winter  make  up — High 
arctics  and  fur  cap)  Well,  sir 

CORBIN.    Good-morning. 

LEFFINGWELL.    Put  down  that  revolver. 

CORBIN.  Pardon  me,  I'd  forgotten  it.  (Puts  gun 
down) 

LEFFINGWELL.    Where  is  my  wife? 

CORBIN.    (Nodding)    In  that  room  on  the  gallery. 

LEFFINGWELL.  (Ascending  steps  and  regarding 
couch)  Who  slept  there  ? 

CORBIN.    Nobody. 

LEFFINGWELL.  (Pausing  on  landing)  Some 
body's  bed 

CORBIN.    Yes. 

LEFFINGWELL.    (To  NORA)    Whose  was  it? 

NORA.    Mr.  Corbin's,  sir. 

LEFFINGWELL.    Then  why  didn't  you  sleep  in  it  ? 

(Enter  BUTLER  with  fountain  faucet.) 


MRS.  LEFFINGWELL'S  BOOTS.       105 

BUTLER.    There  was  a  bug  in  it,  sir. 
LEFFINGWELL.     (Seeing  faucet,  loudly)     Put  up 
that  revolver. 
BUTLER.    This  ? 
LEFFINGWELL.    Yes,  that ! 
BUTLER.    It's  only  a  water  pipe,  sir. 
CORBIN.    Get  the  coffee,  Orton. 

(Exit  BUTLER.) 

LEFFINGWELL.    Where  did  you  sleep? 

CORBIN.    I  haven't  slept — I  sat  up. 

LEFFINGWELL.     Alone  ? 

CORBIN.    No,  not  quite. 

LEFFINGWELL.  I  had  your  solemn  promise  never 
to  be  where  she  was  again. 

CORBIN.    I'm  willing  to  renew  it. 

LEFFINGWELL.    Renew  it? 

CORBIN.    Indefinitely. 

LEFFINGWELL.  And  my  faith — my  shattered  be 
lief  in  her — can  you  renew  that? 

CORBIN.    I  think  I  can. 

LEFFINGWELL.  I'll  give  you  the  chance.  (Raps 
savagely  at  MABEL'S  door)  Open  this  door. 

CORBIN.  (To  foot  of  stairs)  Here — don't  pound 
on  that  door. 

LEFFINGWELL.  (Leaning  over  rail)  You  keep 
still — I'll  kick  the  door  in  if  I  want  to ;  and  if  you 
come  up  there  I'll  kick  you  in  the  face.  (As  CORBIN 
starts  up) 

CORBIN.    (  On  lower  steps)    Your  wife's  not  there. 

LEFFINGWELL.  Then  why  is  the  door  locked? 
(Pounds  on  door) 

MABEL.     (Calling)    Who's  there? 

LEFFINGWELL.  You  know  damned  well  who's 
here — open  the  door. 

CORBIN.  (Going  up  stairs)  You're  a  crazy  man 
— stop  I 


io6       MRS.  LEFFINGWELL'S  BOOTS. 

LEFFINGWELL.  Open  it.  (MABEL  opens  door) 
Oh— Oh,  Miss  Ainslie 

MABEL.     Mr.  Leffingwell,  I  believe. 

LEFFINGWELL.  Yes,  I  beg  your  pardon — I'm 
looking  for  Mrs.  Leffingwell. 

MABEL.  Then  kick  in  that  door.  (Descends  to 
stage) 

NORA.    You  can  get  in  the  window,  sir. 

CORBIN.  (To  NORA)  You  watch  your  man, 
Nora. 

NORA.    Yes,  sir. 

( CORBIN  tries  to  talk  with  MABEL.) 

MRS.  LEFFINGWELL.  (Appearing)  Howard,  this 
is  outrageous. 

LEFFINGWELL.     I  agree  with  you  madame. 

MRS.  LEFFINGWELL.  I  didn't  expect  you  at  this 
hour.  We  sat  up  for  you  until  Mr.  Bonner  came. 

LEFFINGWELL.    Wasn't  Bonner  here  ? 

MRS.  LEFFINGWELL.    No 

LEFFINGWELL.  (Quickly  over  rail  to  CORBIN) 
See  here  you 

MRS.  LEFFINGWELL.  Howard,  I  want  to  speak  to 
you  privately. 

LEFFINGWELL.    No!  why  aren't  you  dressed? 

MRS.  LEFFINGWELL.  I  haven't  had  time — I  don't 
get  up  at  six  o'clock  in  the  winter. 

LEFFINGWELL.  Well,  get  your  clothes  on — you're 
going  out  of  here  at  once. 

(Exit  MRS.  LEFFINGWELL.) 

MABEL.     (Repulsing  CORBIN)     No,  that  is  the 
woman.    You  planned  to  meet  her  here. 
CORBIN.    Mabel !    How  can  you  ? 
MABEL.     (Savagely)    Isn't  she? 
CORBIN.    I  won't  answer  that. 
MABEL.    (Turning)    Mr.  Leffingwell? 


MRS.  LEFFINGWELL'S  BOOTS.       107 

LEFFINGWELL.  (Also  turning  on  gallery)  Miss 
Ainslie.  (He  starts  downstairs) 

CORBIN.  (Interrupting)  No! — not  with  the 
servants  in  hearing. 

MABEL.    Nora,  you  may  go  to  the  kitchen. 

NORA.  I  can't  mam — Cook  says  I  make  her 
wobbly. 

(LEFFINGWELL  reaches  stage.) 

MABEL.  Then  go  to  your  own  room — or  wait  in 
the  hall. 

NORA.  (Flourishing  the  candle)  But  I'm  watch- 
in'  the  burglar,  miss. 

MABEL  What  for?  besides  your  candle  isn't  even 
lighted. 

NORA  (Chagrined)  Please  don't,  miss.  He 
thinks  it's  a  pistol. 

MABEL.    Does  he? 

CORBIN.    You  may  go,  Nora. 

NORA.  Thank  you,  sir — (Starts  off)  Oh,  here, 
sir.  (Gives  CORBIN  the  candle) 

CORBIN.    Thank  you.    (Throws  candle  on  couch) 

LEFFINGWELL.  (To  MABEL)  Did  that  maid  say 
"a  burglar?" 

MABEL.  Yes — he's  there — the  gentlemen  caught 
him  last  night. 

LEFFINGWELL.    Oh.    (Starts  casually  up) 

CORBIN.  (Interfering)  I  don't  think  you'd  bet 
ter  disturb  him. 

LEFFINGWELL.  (Gruffly)  I  only  mean  to  look 
at  him. 

CORBIN.    I'd  rather  you  wouldn't  look  at  him. 

LEFFINGWELL.    What  have  you  got  to  do  with  it  ? 

CORBIN.  (Nodding  back  at  dummy)  My 
burglar — that's  all. 

LEFFINGWELL.  Aren't  you  taking  unusual  pains 
to  make  yourself  disagreeable. 

CORBIN.    Perhaps. 


io8       MRS.  LEFFINGWELL'S  BOOTS. 

LEFFINGWELL.  (Under  his  breath;  through  the 
teeth)  Sush — (Turns  away) 

MABEL.  Mr.  Leffingwell ;  your  wife  said  last  night 
that  you'd  asked  her  to  promise  not  to  be  any  place 
where  Mr.  Corbin  was. 

LEFFINGWELL.    Well? 

MABEL.    Why? 

LEFFINGWELL.    Personal  matter. 

MABEL.    Between  whom  ? 

LEFFINGWELL.    Him  and  me. 

MABEL.    Of  what  nature  ? 

LEFFINGWELL.     (Pause)  Quarrel. 

MABEL.    About  what? 

LEFFINGWELL.  I  don't  care  to  say.  (Turns 
away) 

MABEL.  But  one  question  more — was  it  at  Bar 
Harbor? 

LEFFINGWELL.  (Turning  sharply.  Pause — look- 
ing  from  MABEL  to  CORBIN  and  back  to  MABEL; 
again)  Why  do  you  suggest  Bar  Harbor? 

MABEL.  Mr.  Corbin  was  in  trouble  there  because 
of  another  man's  wife.  Was  it  your  wife  ? 

LEFFINGWELL.    I  can't  discuss  the  matter. 

MABEL.    I'm  sure  it  was  your  wife. 

LEFFINGWELL.  You  have  no  reason  for  that  as 
sumption. 

MABEL.  That  woman's  husband  kicked  in  the 
door  of  Mr.  Corbin's  room  in  the  hotel — your  first 
impulse  here  was  to  kick  in  the  doors — It  must  have 
been  you — you're  door  kicker. 

LEFFINGWELL.  If  you've  decided  the  matter  for 
yourself — why  question  me  further  ? 

MABEL.    I  must  be  more  sure. 

LEFFINGWELL.  Why  should  it  be  your  affair  at 
all?  You're  a  stranger  to  me,  Miss  Ainslie — you 
never  met  my  wife  until  last  night. 

MABEL.  I  ask  the  question  because  I  have  been 
engaged  to  marry  Mr.  Corbin — I  forgave  that  affair 


MRS.  LEFFINGWELL'S  BOOTS.       109 

at  Bar  Harbor,  although  he  refused  to  confess  all 
of  it. 

CORBIN.    Now  Mabel 

MABEL.  (Continuing)  But  I  won't  forgive  this 
second  rendezvous,  and  if  you've  the  spirit  of  a  man, 
you  won't.  Was  your  wife  the  woman?  (Pause) 
You  might  as  well  answer  truthfully  because  I  shall 
know  she  was,  even  if  you  deny  it.  (Pause) 
Answer  me. 

LEFFINGWELL.  (Pause)  Miss  Ainslee — I 
wouldn't  marry  that  man  if  he  were  the  last  per 
son  on  earth. 

MABEL.  That  is  my  affair,  Mr.  Leffingwell. 
What  I  ask  of  you  is  a  positive  answer  to  my  ques 
tion. 

LEFFINGWELL.  I  can't  answer  such  a  question  in 
the  presence  of  strangers.  I  won't. 

MABEL.    (Indicating  CORBIN)    He's  no  stranger — 

LEFFINGWELL.  (Indicates  burglar)  No,  but  the 
other  one  is. 

MABEL.  Then  answer  me  this — let  us  assume  for 
the  sake  of  Mr.  Corbin's  burglar  that  your  wife  was 
not  that  woman — you  forbade  her  seeing  Mr.  Corbin 
"  again  "  didn't  you  ? 

LEFFINGWELL.  I  didn't  say  "again!'  I  said 
"  ever." 

MABEL.  (Asserting)  Because  of  that  Bar 
Harbor  trouble. 

LEFFINGWELL.    Yes. 

MABEL.    You  thought  him  guilty,  didn't  you  ? 

CORBIN.    Oh,  see  here  Mabel 

MABEL.  I'm  not  speaking  to  you — (To  LEFFING 
WELL)  They  were  her  boots,  weren't  they? 

LEFFINGWELL.  Yes ! — That  is  they  were  the  boots 
of  the  woman  in  question. 

MABEL.    Beyond  a  doubt? 

LEFFINGWELL.    Beyond  a  doubt. 

MABEL.    Did  she  admit  it? 

LEFFINGWELL.    Yes. 


ho      MRS.  LEFFINGWELL'S  BOOTS. 

MABEL.  And  when  you  broke  into  his  room  yo 
thought  she  was  there,  didn't  you  ? 

LEFFINGWELL.  I  didn't  say  it  was  I  who  brok 
into  his  room. 

MABEL.    It  must  have  been  you. 

LEFFINGWELL.    Why  must  ? 

MABEL.  What  other  man  would  have  done  it  d 
account  of  your  wife? 

LEFFINGWELL.    I  didn't  say  it  was  my  wife. 

MABEL.  But  you  made  them  both  promise  neve 
to  meet  each  other,  didn't  you? 

LEFFINGWELL.  Yes ! —  no !  That  is — everybod] 
in  the  hotel  did  the  same  thing — why  should  an] 
man's  wife  meet  him? 

MABEL.  (In  growing  excitement)  Then  they  al 
believed  him  guilty  ? 

LEFFINGWELL.    Of  course. 

MABEL.    Oh— Oh 

(Enter  MRS.  LEFFINGWELL.) 

CORBIN.    Mabel,  is  this  fair? 

MABEL.    (Moving  away)    Don't  speak  to  me. 

CORBIN.  (Following)  What  one  new  fact  has 
all  this  tirade  developed?  What  has  it  added  to 
everything  that  I  told  you  last  night  ? 

LEFFINGWELL.  (Angrily)  What  did  you  tell 
her  last  night — what  have  you  dared  to  tell  any 
body? 

MRS.  LEFFINGWELL.  (Interposing)  Howard 
dear! 

LEFFINGWELL.  (To  MRS.  LEFFINGWELL)  Be 
still. 

CORBIN.  You  trusted  me  then — what  have  you 
learned  since  then  ?  What?  in  Heaven's  name 

MABEL.  (Triumphantly)  I've  found  out  the 
woman. 

CORBIN.      Let's  assume  that  you  have 

MABEL.    Assume ! 


MRS.  LEFFINGWELL'S  BOOTS.       in 

CORBIN.  With  our  friend  there — (Indicates 
burglar,  manikin)  assuming  that  you  have  "  found 
out  the  woman  " — Does  a  lie  about  me  and  some 
unknown  woman  become  a  truth  because  the  woman 
is  identified?  Be  fair — think. 

MABEL.  (Suddenly  judicious)  Yes — I  will  be 
fair! — I  see  your  point.  (To  LEFFINGWELL)  You 
and  the  other  husbands  in  the  hotel  had  some  further 
evidence  against  Mr.  Corbin  than — than  simply  Mrs. 
Leffmgwell's  boots  on  the  fire  escape. 

MRS.  LEFFINGWELL.    Oh,  Howard  you  told  her. 

LEFFINGWELL.    I  did  not.     ( To  MABEL)    Did  I  ? 

MABEL.  (To  MRS.  LEFFINGWELL)  No — But 
you  do — Oh,  you  creature. 

LEFFINGWELL.  (Indignantly  interposing)  I  beg 
your  pardon 

MABEL.  (Turning  from  MRS.  LEFFINGWELL  to 
CORBIN)  To  pretend  you  didn't  know  each  other 
and  then  come  together  here.  Oh !  Oh ! 

CORBIN.    My  being  here  is  an  accident,  Mabel. 

MABEL.  No,  a  special  Providence — a  revelation  in 
time  to  save  me;  and  you  couldn't  speak  of  it  in  the 
presence  of  strangers — (Turns  to  burglar  with 
gradually  increasing  voice)  Here  yoti  burglar — 
you've  heard  all  this — if  there's  any  doubt  remaining 
in  your  mind,  you  may  know  now  that  the  woman  in 
the  Bar  Harbor  Hotel  with  Mr.  Corbin  was  a  Mrs. 
Howard  Leffingwell  of  Larchmont.  (Sinks  over 
come  on  couch) 

LEFFINGWELL.  (Speaking  on  cue  of  "  MRS.") 
Stop — stop  I  say — (To  burglar — slowly  and  leaning 
across  piano)  See  here  my  man — I've  spent  a  good 
deal  of  money  already  keeping  this  thing  out  of  the 
papers — It  won't  do  you,  any  good  to  talk  about 
what  you've  heard  here — and  if  you're  anything  of  a 
gentleman  you  won't — On  the  other  hand,  it  may  be 
worth  your  while  to  keep  still  about  it. 

MRS.  LEFFINGWELL.  (Also  addressing  the  silent 
witness)  I  wish  to  say  now,  what  I  said  then,  and 


ii2       MRS.  LEFFINGWELL'S  BOOTS. 

shall  always  say :  The  whole  thing  was  a  tissue  of 
lies — Walter  Corbin  is  a  perfectly  honorable  gentle 
man — I  am  a  perfectly  loyal  wife. 

CORBIN.     (To  MABEL)     Are  you  fair? 

MABEL.  I  will  be — (To  LEFFINGWELL)  I  re 
peat  my  question  to  you — there  was  plenty  of  other 
evidence  ? 

MRS.  LEFFINGWELL.    A  tissue  of  lies. 

LEFFINGWELL.  The  statements  of  a  private 
detective.  This  man  had  no  answer  except  that  the 
detective  was  crazy — I  gave  him  every  chance  to 
disprove  the  detective  but  when  he  even  declined  to 
meet  the  man,  I  was  forced  to  consider  him — to  con 
sider  the  case — I  was  forced  to  do  just  as  I  did. 

MRS.  LEFFINGWELL.    Howard  dear. 

LEFFINGWELL.  (Turning  to  his  wife)  Be  still. 
(Turns  back  to  CORBIN) 

{Enter  BONNER — His  face  is  black  with  soot.    He 
carries  a  furnace  shaker.) 

MRS.  LEFFINGWELL.  (Turns  from  LEFFINGWELL 
with  a  groan)  Oh — (Confronts  BONNER — screams) 
Ow! 

LEFFINGWELL.  What.  ( Turns  to  his  wife — sees 
BONNER)  Put  up  that  revolver. 

BONNER.    Hello,  Leffingwell. 

MRS.  LEFFINGWELL.    Mr.  Bonner! 

BONNER.  I've  been  fixing  the  furnace.  I  under 
stand  all  of  it,  but  this — (Shows  shaker  to  CORBIN) 

CORBIN.  That's  the  key — turns  the  grate  upside 
down. 

BONNER.  Thank  you — (Toothers)  But — what's 
the  matter? 

LEFFINGWELL.  This  man's  the  matter — I  don't 
allow  my  wife  where  he  is. 

BONNER.  Oh,  come  now,  Leffingwell — that's  a 
little  too  strong,  isn't  it  ? 

LEFFINGWELL.    No,  sir 


MRS.  LEFFINGWELL'S  BOOTS.       113 

BONNER.    He  calls  here — my  wife  sees  him. 
LEFFINGWELL.    Well  mine  can't. 
BONNER.    Why  ? — I  insist  on  knowing. 

(Enter  MRS.  BONNER.) 

MRS  BONNER.    Tom! — what  is  that  screaming? 

BONNER.  See  here  my  dear — you  better — Hang 
it,  Leffingwell,  you've  got  to  explain  this  thing. 
Come  in  the  dining  room,  my  love.  You'll  excuse 
us,  Mr.  Corbin,  won't  you? 

CORBIN.    Certainly. 

LEFFINGWELL.  (To  MRS.  LEFFINGWELL)  Come 
—  (Sternly.  Then  to  MRS.  BONNER)  I  didn't 
offend  you  Mrs.  Bonner  when  you  telephoned  me  at 
midnight  ? 

MRS.  BONNER.  (Stops  on  her  way  to  the  dining 
room)  I  didn't  telephone  you  at  midnight. 

LEFFINGWELL.    Not  when  my  wife  asked  you  to? 

MRS.  BONNER.  You  didn't  ask  me  to  telephone  at 
midnight  ? 

MRS.  LEFFINGWELL.  (Lying)  Why  don't  you 
remember  ? — Come  Howard. 

(LEFFINGWELL  follows  to  dining  room.) 

BONNER.  (In  door)  And  Mabel — had  she  bet 
ter 

(Exit  LEFFINGWELL  and  MRS.  LEFFINGWELL.) 

MRS.  BONNER.    Oh,  let  me  alone  Tom.     (Exit) 
BONNER.     (Magnificently  to  CORBIN)     I  had  to 
call  that,  you  know. 
CORBIN.    Of  course. 

(Exit  BONNER.) 
MABEL.    Why  didn't  you  face  the  detective? 


Ii4       MRS.  LEFFINGWELL'S  BOOTS. 

CORBIN.  Why  should  I? — the  man  was  crazy — 
crazy  with  that  excessive  cunning  that  the  insane 
often  develop. 

MABEL.    Couldn't  that  have  been  proven? 

CORBIN.    Yes. 

MABEL.     Then  why  didn't  you  prove  it? 

CORBIN.     (Pause)     I  thought  it  best  to  wait. 

MABEL.    Under  that  accusation  ? 

CORBIN.    Yes. 

MABEL.  It  was  your  duty  to  the  community  to 
expose  such  a  man — to  have  him  taken  into  custody 
— it  was  your  duty  to  yourself. 

CORBIN.    I  thought  more  of  my  duty  to  you. 

MABEL.  To  me? — I  don't  believe  you,  Walter. 
Your  duty  to  me  was  to  have  had  the  man  arrested. 

CORBIN.    He  was  mentally  unsound. 

MABEL.  What  of  it?  (Pause)  You  see  your 
story's  unbelievable,  don't  you? — you  evade  the 
issues  constantly. 

CORBIN.    The  man — was — Dick. 

MABEL.    Dick?    ( CORBIN  nods)    What,  Dick? 

CORBIN.    Dick  Ainslie. 

MABEL.    Oh — (Pause)    The  private  detective? 

CORBIN.  Yes.  He  called  himself  by  another 
name — but — I  was  sure  any  investigation  would  have 
brought  out  his  own  name.  I  couldn't  do  that — 
even  tho'  you  punished  my  silence  by  breaking  our 
engagement. 

MABEL.  My  brother— (CORBIN  nods)  You  said 
— mentally  unsound? 

CORBIN.  Yes— Hasn't  yur  family  apprehended 
it  at  times? 

MABEL.  The  family !  (Pause)  You  thought 
the  family  was — (Horrified^  pause)  you  think  there 
may  be  something  in  the  Ainslie  blood 

CORBIN.    (Quickly)    Oh,  no 

MABEL.  I  see — you — you  wished  the  engagement 
broken.  (Cries  on  piano) 


MRS.  LEFFINGWELL'S  BOOTS.       115 

CORBIN.     (Leaning  over  her)     Mabel — you  can't 
think  that — why  should  I  wish  it  renewed? 
MABEL.    (Turning)    I  don't  believe  you  do. 
CORBIN.    I  swear  it. 

(Enter  LEFFINGWELL.) 

LEFFINGWELL.  Miss  Ainslie,  I  answered  some 
questions  for  you — now  let  me  ask  some — when  you 
telephoned  me  at  midnight,  were  you  sitting  up? 

MABEL.    I  was  standing,  at  the  'phone. 

(Enter  MRS.  LEFFINGWELL.) 

LEFFINGWELL.    Had  you  been  to  bed  ? 

MABEL.    Yes. 

LEFFINGWELL.    Oh ! 

MRS.  LEFFINGWELL.  Now  Howard  that's  all  very 
unimportant. 

LEFFINGWELL.  No  lie  is  unimportant — who  was 
sitting  up  besides  my  wife? 

MABEL.    As  far  as  I  knew  only  Mr.  Corbin. 

LEFFINGWELL.    (Threateningly  to  CORBIN)    Yes! 

'(Enter  NORA  and  A  SERGEANT  OF  POLICE,  3  L.) 
NORA.    Where's  Mr.  Bonner? 

(Enter  MRS.  BONNER,  i  L.) 

MRS.  BONNER.    What  is  it,  Nora? 
NORA.    A  policeman. 

(Enter  BONNER,  i  L.) 

SERGEANT.    Morning,  Mr.  Bonner. 
BONNER.    Good-morning,  Sergeant. 
SERGEANT.    I've  got  that  warrant  with  me. 
NORA.    (Indicating  dummy)    Here's  the  man  Mr. 


ii6       MRS.  LEFFINGWELL'S  BOOTS. 

Bonner.    I  watched  him  nearly  an  hour  by  myself. 

SERGEANT.     (To  BONNER)     You  got  him? 

BONNER.  That's  a  fellow  who  broke  in  here  last 
night. 

SERGEANT.  {Regarding  the  manikin)  Did  you 
have  to  tie  him  ? 

BONNER.  I  should  say  so ;  and  took  three  of  us 
to  do  it.  He  shot  Mr.  Corbin  there,  in  the  arm. 

SERGEANT.  Where's  the  gun?  (CORBIN  points  to 
it.  SERGEANT  picks  it  up)  Cheap  bull  dog — (To 
Dummy)  Get  up. 

CORBIN.    I  don't  think  he  can. 

(The  women  huddle  to  one  side.    LEFFINGWELL  and 
BONNER  go  to  dummy.) 

SERGEANT.  (Removing  hat  from  dummy)  Say — 
(Turns)  What  is  this,  Mr.  Bonner? 

BONNER.    That? — why  that's  my  lay  figure. 

SERGEANT.  This  is  a  pretty  cold  morning,  Mr. 
Bonner,  to  wade  up  here  just  for  a  josh. 

BONNER.  Well,  the  fellow's  gone,  that's  all — 
who  did  it? 

CORBIN.    Nora  was  watching  him. 

(All  turn  accusingly  to  NORA.) 

NORA.  But  Miss  Ainslie  sent  me  away,  didn't 
you? 

(They  turn  to  MABEL.) 

MABEL.  Yes,  but  both  Mr.  Corbin  and  myself 
have  been  here  ever  since — Mr.  Leffingwell,  too. 

SERGEANT.  Be  a  fine  grind  on  me  around  Larch- 
mont ;  comin'  here  before  daylight  to  get  a  stuffy. 

BONNER.    That  isn't  why  I  sent  for  you,  Sergeant. 

SERGEANT.  I  thought  not — I've  got  a  warrant  for 
John  Doe — confidence  game. 


MRS.  LEFFINGWELL'S  BOOTS.       117 

BONNER.  Yes,  I'll  sign  it  and  tell  you  where  to 
go  for  that  man.  This  way  sergeant.  (Exit  fol 
lowed  by  sergeant  to  hall  3  L.) 

MRS.  BONNER.     Now  Tom  dear — (Follows) 

NORA.  Honest,  Mr.  Corbin,  I  never  took  my  eyes 
off  of  him  only  when  Mr.  Leffingwell  was  tryin'  to 
get  in  Miss  Ainslie's  room. 

CORBIN.     Of  course  not — you  may  go,  Nora. 

NORA.    Yes,  sir.     (Exit  I  L.) 

LEFFINGWELL.  No  wonder  you  didn't  want  me  to 
look  at  that  man,  eh  ? 

MABEL.    Did  you  know? 

CORBIN.    Yes,  I  knew. 

MABEL.     Isn't  there  anything  honest  about  you? 

LEFFINGWELL.  You  may  take  these  things  trifl- 
ingly,  my  man — but  if  you  do,  you  don't  know  what 
the  word  "  home "  means.  You've  destroyed  my 
trust  in  this  woman  for  ever  and  that  destruction 
works  backward  as  well  as  into  the  future.  The  very 
joy  I've  had  in  listening  to  my  babies'  voices  youVe 
dulled  by  the  doubt  on  her. 

CORBIN.    Not  my  work  believe  me. 

(Enter  BONNER  and  MRS.  BONNER.) 

BONNER.  (With  magisterial  expansion)  Now 
let's  sift  this  thing 

LEFFINGWELL.  (Savagely)  Begin  there — 
(Points  at  CORBIN)  There!  The  greatest  grand 
stand  bluff  of  the  century. 

BONNER.    I  left  the  man  in  your  care. 

CORBIN.    Yes. 

BONNER.  I'd  identified  him,  hadn't  I,  as  a  fellow 
that  sometimes  does  pantry  work  in  the  house  and— 

CORBIN.    Yes — but  that  was  a  mistake. 

(Enter  BUTLER  carrying  coffee  in  cup.) 
BONNER.    Mistake  nothing. 


ii8      MRS.  LEFFINGWELL'S  BOOTS. 
BUTLER.    Here,  sir,  is  a 

(BONNER  tackles  BUTLER  with  swift  underhold  and 
"  back-heels  "  him  onto  the  model  stand.  The 
women  scream.) 

BONNER.    You  got  away,  did  you  ? 

BUTLER.    Mr.  Corbin 

CORBIN.  Hold  on  Tom — that  man's  all  right — 
there's  a  mistake. 

BONNER.  (Retaining  his  hold)  You  had  him 
tied,  didn't  you? 

CORBIN.    Yes,  but 

BONNER.    And  he  shot  you  through  the  arm? 

CORBIN.    No. 

BONNER.    You  said  so. 

CORBIN.  Not  this  man — another  one — Orton  con 
sented  to  take  this  place  as  a  prisoner — Orton's  a 
perfectly  honest  man  for  all  I  know. 

( BONNER  reluctantly  releases  BUTLER  who  re-adjusts 
his  "dickey"  shirt-bosom  in  panting  dignity.) 

BONNER.    Then  where  is  the  man  ? 

CORBIN.    There.    (Points  R.) 

BONNER.    The  Doctor's  room. 

CORBIN.  (BONNER  starts  to  door)  Yes — wait  a 
minute.  (Interposes  just  at  the  door,  the  knob  of 
which  rattles) 

LEFFINGWELL.  (Throwing  up  his  hands)  You 
bet  whenever  it  comes  to  a  show  down,  Mister  Fixit 
wants  to  shift  the  cut. 

BONNER.    (Pugnaciously)    Why  wait 

CORBIN.  Because  the  man  in  there  is  not  a 
burglar. 

LEFFINGWELL.  (Disgustedly  to  BONNER)  He'll 
ring  in  substitutes  all  winter. 

BONNER.    What  is  he  then  ? 


MRS.  LEFFINGWELL'S  BOOTS.      119 

CORBIN.  He's  a  poor  unfortunate  boy  that  didn't 
know  what  he  was  doing. 

(Enter  DOCTOR.) 

BONNER.    (Excitedly)    Now  he's  alone,  isn't  he? 

CORBIN.  Yes. 

DOCTOR.  What  is  it  Walter  ? 

BONNER.     (Shouting)     Is  that  fellow  tied? 

DOCTOR.  No. 

( BONNER  rushes  to  the  door.) 

CORBIN.  (Stopping  BONNER)  One  moment, 
Tom. 

LEFFINGWELL.    It's  your  house,  Bonner,  isn't  it? 

MRS.  BONNER.  (Aside)  As  a  matter  of  fact, 
it's  mine. 

BONNER.    Now  let's  see  him  anyway. 

CORBIN.  In  a  moment.  I  want  you  to  all  take 
seats  and 

BONNER.    Take  seats 

CORBIN.    Yes,  take  seats 

LEFFINGWELL.  (As  he  sits)  And  then  some 
gentleman  kindly  lend  him  two  hard  boiled  eggs 
and  a  silk  hat. 

BONNER.    What  is  this,  Corbin? 

CORBIN.  I  don't  want  you  to  jump  at  him  Tom, 
like  you  did  at  Orton  there — and  Orton  you  may 
leave  the  room. 

BUTLER.    Yes,  sir. 

LEFFINGWELL.  (Rising)  It's  a  con  game, 
Bonner — there  goes  the  real  man. 

BONNER.    Wait 

( BUTLER  pauses.) 
CORBIN.    Nonsense — Go  on,  Orton. 


120       MRS.  LEFFINGWELL'S  BOOTS. 

( BUTLER  goes.    LEFFINGWELL  shrugs  his  shoulders 
in  resignation.) 

CORBIN.    We — all  know  the  man  in  this  room. 
MRS.  BONNER.    All  of  us  ? 

CORBIN.    All — when  I  bring  him  in  here,  he  must 
be  received  as  a  friend — (To  DOCTOR)    He's  awake 3 
DOCTOR.    Yes. 
CORBIN.    You  get  him. 

(DOCTOR  exit.) 

BONNER.    Why  all  this  mystery?    Who  is  it? 

CORBIN.  A  classmate  of  mine — he's  pursued  me 
rather  relentlessly  for  several  years  because  he  was 
suffering  under  a  mental  aberration. 

LEFFINGWELL.  (With  a  derisive  burst)  Oh,  an 
other  crazy  man. 

CORBIN.     (Quickly)     No! — the  same  one. 

MABEL.    Walter — (Goes  anxiously  to  CORBIN) 

CORBIN.  It's  all  right — (MABEL  goes  to  MRS. 
BONNER  whispering  "  DICK.")  He  knows  that  you 
are  all  here — I've  had  several  talks  with  him  during 
the  night,  and  I  only  ask  of  you  that  you  seem  as 
easy  and  natural  as  possible,  and  treat  him  as  a 
friend. 

(Enter  DOCTOR  and  DICK.) 

DICK.     (Very  much  subdued)    Good-morning. 

OMNES.    Good-morning- 

CORBIN.  Dick  called  on  me  last  night  and  I  in 
sisted  on  his  staying. 

BONNER.    That  was  right. 

DICK.  Oh,  Mr.  Bonner — I — oh — I — that  little 
matter  at  the  Beven  House  was — that  was  a  mistake 
— I'll  explain  if  I  may  this  morning. 

BONNER.     Take  your  own  time. 

CORBIN.    You  know  Mr.  and  Mrs.  Leffingwell? 


MRS.  LEFFINGWELL'S  BOOTS.       121 

DICK.    Yes. 

CORBIN.  (To  DICK)  I'm  afraid  their  little  mat 
ter  can't  be  dismissed  so  lightly.  Dick  perpetrated  a 
rather  serious  practical  joke  on  me  at  Bar  Harbor — 
I  don't  think  any  explanation  will  do  Dick  but  the 
real  one — which  is  that  at  times  for  the  last  six 
years,  Dick  hasn't  been  quite  himself  mentally. 

DICK.  I  didn't  like  to  admit  it,  but  Doctor  Rumsey 
says  it  wasn't  my  fault.  (To  DOCTOR)  You  tell 
them. 

DOCTOR.  A  partial  dislocation  of  the  axis  caused 
by  a  blow — I  reduced  a  morbid  contusion  there  last 
night  that  was  pressing  on  an  important  nerve 
center — Constant  cerebral  irritation — I'm  sure  it'll 
all  be  right  in  a  few  weeks.  (Turns  paternally  to 
DICK) 

LEFFINGWELL.  You  mean  to  say  all  those  reports 
to  me  at  Bar  Harbor  were  wrong? 

DICK.  Yes,  wrong — it  seemed  kind  of  a  game  I 
was  playing,  with  Corbin 

LEFFINGWELL.    And  my  wife's  boots? 

DICK.  I  put  'em  there — I  don't  know  why  I  did 
it,  but  I  did. 

MABEL.  I'm  sure  he  doesn't — If  you  only  knew 
the  unhappiness  he's  given  the  family  in  the  last 
six  years,  and  before  that  he  was  such  a  good  boy — 
such  a  good  boy. 

DOCTOR.  Just  a  blow  there  in  a  school  boy  fight — 
about  a  ball  game,  wasn't  it? 

DICK.    Yes. 

LEFFINGWELL.  (To  CORBIN)  Well  you've  been 
a  rather  patient  sufferer,  Mr.  Corbin — I  must  say. 

MABEL.    Yes.    (Goes  sympathetically  to  CORBIN) 

CORBIN.  Oh,  please  don't — no — no  sympathy  to 
me  I  beg. 

BONNER.    Why  not? 

CORBIN.  Because  /  struck  that  blow.  (Goes  to 
DICK) 

CURTAIN. 


